Easy Street Theatre Company’s Les Misérables – 29 April 2026, The Steamworks
Review by Claire Taranaski.
There is a slight concern as an audience member when a youth company takes on a musical as iconic as Les Misérables, but I knew immediately that I had nothing to worry about from the opening bars with a production that even lifelong musical theatre fans of production would struggle to fault.
Artistic director and producer Sallianne Foster Major, director Beth Bloor and choreographer Molly Soden-Freeth got the very best out of the large cast and limited stage area from the moment the show opened with the chain gain dragging ropes down the aisles. Of course the direction highlight most be the barricade scenes in act two, which with the best set of the night (breaking away from the minimal set used elsewhere, which kept the focus on the talented cast) brilliantly captured the atmosphere, energy and tragedy of war.
The other person from the production team who brought the very best out of the cast was musical director Gareth Lloyd with clever harmonies and musical arrangements, bringing out and maintaining the very best in everyone’s voices and by placing his large 19 piece band on a balcony behind the audience meant that their beautiful accompaniment in a fully sung musical always complimented but never distracted you from what was happening on stage.
The entire cast and ensemble were note perfect and professional during the entire production working together in harmony to bring the musical to life and often acting beyond their age and life experience so you often forgot you were watching youth theatre. However, Kai Haste Wain was a true star and would not be out of place playing protagonist Jan Valjean in any production of the musical. Kai possessed wonderful stage presence, chemistry with his co-stars and vocal range and throughout brought to life the character with thoughtfulness and what felt genuine honesty and emotion. His performance of “Bring Him Home” was one of many solos that almost moved me to tears and gave me goosebumps and could act as his audition piece for any musical theatre role he desires.
On the subject of solo numbers that almost moved me to tears, gave me goosebumps and again could act as the audition piece for any musical theatre role they desire, I must mention Bella Hoggart (playing Fantine on Wednesday and Friday) “I Dreamed A Dream” (I only wish the character had more stage time); Ella Penn as Eponine’s “On My Own” (who also beautifully captured unrequited love and had my favourite costume of the night) and Reuben Barnett’s “Empty Chairs At Empty Tables” with me never expecting a performance so emotionally powerfully and sincere from a performer so youthful.
Other cast members I must mention include Eddie Sayers as antagonist and police inspector Javert who played the role with authority, preaching belief and certainty that made when he does face doubt in the second half made his experience even more powerful; Isaac Reid as Enjoiras who captured the courage and support the resistance needed; Bethan Kime as Gavroche who reminded me of a French Artful Dodger and like Danil Boudjada as Thenardier, reminding me of a charismatic younger French Fagin at it’s best in “Master Of The House”, performed with great attitude.
Although all these characters were superb on this own, the cast confirmed they were even stronger when working together, whether as a four in “Fantine’s Arrest”, combining the vocal talents of Bella, Kai and Eddie to stand out large cast numbers especially “At The End Of The Day” and the rousing choruses of “Do You Hear The People Sing” and “One Day More”, which not only highlighted the vocal talents of the full cast and ensemble but displayed Gareth’s talent for getting the very best out of every one of them and every note.
Behind the scenes I must praise Kei Broughton and the wardrobe assistants for the multiple costumes, especially amongst the large ensemble, that clearly brought the various crowds of characters (from workers to beggars and prostitutes to students to life); and Nick Clayton’s lighting from the flicking candles strung across the venue capturing the lighting of the era in the industrial venue to the rain projection during “A Little Rain” and the candle lit vigil by the women of Paris during “Turning”.
It’s not an easy street to go down to put on a production of Les Misérables but Easy Street Theatre Company made it look easy and I look forward to seeing what the company and cast do next.
