Les Misérables at Futures Theatre

Adelaide Youth Theatre tackling Les Misérables is no small feat, and under the thoughtful direction of Matt Smith, this production meets the challenge with heart, ambition, and a clear respect for the material.

From the opening bars of “Look Down”, it’s evident this is a company unafraid to trust young performers with one of musical theatre’s most demanding scores and weightiest stories.

At the centre of the production is Mat Monti as Jean Valjean, whose seasoned performance provides a strong and steady anchor for the cast. Their delivery of “What Have I Done?” establishes Valjean’s moral journey with clarity and restraint, while “Bring Him Home” is sung with controlled simplicity and emotional honesty. Monti’s professional assurance gives the production a sense of security, allowing the surrounding young performers to flourish.

Opposite them, Andrew Crispe’s Javert is equally assured and disciplined. His vocal authority is immediately evident in “Stars”, where his unwavering tone and composure perfectly reflect Javert’s rigid worldview. Crispe’s experience brings weight and inevitability to the role, providing a strong dramatic counterpoint throughout, particularly in their confrontations during “The Confrontation”.

Comic relief comes courtesy of Asher Gordon and Rebecca Etienne as the Thénardiers, who revel in the chaos of “Master of the House”. Their timing is sharp, their character work playful yet pointed, and they strike a satisfying balance between humour and underlying menace. Their presence energises the ensemble scenes without tipping into excess.

Riley Mobbs as Enjolras brings clarity and focus to the student movement, delivering “Red and Black” and the barricade scenes with conviction and a sense of leadership within the ensemble. Mia Khairul’s Gavroche adds youthful energy and spirit, particularly in “Little People”, contributing a lively presence that supports the broader storytelling without pulling focus from the collective.

Among the women of the piece, there is much to admire.

Grace Sexton’s Fantine delivers a tender and affecting “I Dreamed a Dream”, marked by vulnerability and emotional sincerity rather than showmanship.

Alyssa Faranda’s Éponine is a standout, shaping “On My Own” with restraint, nuance, and beautifully controlled phrasing that captures the character’s quiet heartbreak.

As Young Cosette, Bethany Swift brings poignancy to “Castle on a Cloud”, her performance gentle, clear, and emotionally grounded. Iris Nissen’s Cosette offers warmth and lyrical sweetness, particularly in “In My Life” and “A Heart Full of Love”, where her connection to the material feels genuine and open.

Jack Keukenmeester’s Marius is earnest, emotionally accessible and with a professionalism far beyond his years, navigating “Empty Chairs at Empty Tables” with sincerity and a strong sense of storytelling. His vocal blend in “A Heart Full of Love”, chemistry with Nissen and ensemble numbers demonstrates both musical sensitivity and confidence.

A standout strength of this production is its ensemble work, which is cohesive, committed, and vocally impressive. Numbers such as “At the End of the Day”, “One Day More”, and the barricade sequences are unified and purposeful, showcasing careful preparation and a strong sense of collective storytelling.

Under the musical direction of Matthew Rumley, the vocal work is balanced and emotionally driven, allowing the power of the score to shine while supporting young voices with care.

Lucy Newman’s choreography is purposeful and well-integrated, enhancing the narrative without overwhelming it. Movement is used effectively to build urgency and atmosphere, particularly in ensemble scenes where the cast works together with focus and intent.

The production is further elevated by a fantastic set, which effectively evokes the streets and barricades of revolutionary France, providing a visually striking backdrop that supports both the intimacy of the smaller scenes and the scale of the ensemble numbers. Kudos to Smith and Rumley for the design and Adrian Joy on construction.

If there is an area for growth, it lies in the set and prop transitions, which at times interrupt the momentum of the storytelling. Inconspicuous, more fluid solutions would allow the emotional drive of the piece to carry through uninterrupted and further elevate the overall polish.

Adelaide Youth Theatre’s Les Misérables is a confident and moving production that highlights the depth of emerging talent within the company. Supported by strong professional performances, guided by a clear and compassionate creative vision by producers Emma Riggs and Kerreane Sarti, and lifted by a committed, vocally unified ensemble, this is youth theatre delivered with ambition, care, and genuine respect for one of musical theatre’s most enduring works.

4 stars

Lia Loves.