Scotch College

OSCA’s Les Misérables enthrals the Scotch Family – and beyond

The Old Scotch Collegians’ Association’s first venture into a theatrical production was hugely successful.

WORDS: Mr DAVID ASHTON Photography: Mr David Ashton and Mr Tim Shearer

‘… [Les Misérables] was one of the most successful events OSCA has ever staged anywhere, put on by a remarkable group of very talented amateur performers and backstage staff.’

In eight emotion-charged performances, Les Misérables played to packed houses during its hugely successful run at the Geoffrey McComas Theatre, James Forbes Academy, in October.

But it was more than just a box-office triumph – it was one of the most successful events OSCA has ever staged anywhere, put on by a remarkable group of very talented amateur performers and backstage staff.

Success bred success for Les Mis. The word quickly got around the Scotch Family, and it became a must-see event. Tickets became hot property. Night after night, and at two matinée performances, audiences were enthralled, and the cast grew in expertise, stature and confidence.

What is the magical appeal of Les Mis? It has much to do with the heroism, humanity and strength of the central character, Jean Valjean, and his selfless determination to help others, in particular the tragic Fantine and her illegitimate daughter, Cosette.

Fantine, trying to scratch together money to buy medicine for her secret illegitimate child, Cosette, works in a factory owned by former prison inmate, Jean Valjean. She sings:

I dreamed a dream in time gone by
When hope was high
And life worth living,
I dreamed that love would never die
I dreamed that God would be forgiving;
Then I was young and unafraid
And dreams were made and used and wasted;
There was no ransom to be paid,
No song unsung, no wine untasted
But the tigers come at night
With their voices soft as thunder;
As they tear your hope apart
And they turn your dream to shame.

Forced into prostitution, she gets into a fight with a prospective customer, and, sick with tuberculosis, she is taken to hospital on Valjean’s insistence. Valjean promises the dying Fantine that he will find and care for her daughter, Cosette.

Valjean is inspiring as he heroically tries to help Fantine, takes Cosette under his wing, protects Javert at the barricade, rescues Marius and offers to flee from Cosette’s wedding, to avoid tainting her and Marius with his criminal past.

In OSCA’s Les Mis, producer Richard Beveridge, director Alan Burrows, music director John Ferguson, chorus master Kevin Kelley, technical director John Colvin and set designer Ben Shearer pooled their remarkable talents to ensure the success of the show.

Costumes were wonderfully prepared by Rhonda McMurtrie, Ros Turnley and the wardrobe team. Christine Shearer’s organising talents served her well as stage manager, and the superb lighting was the work of John Colvin and Will Borthwick. Ed Tudor led a backstage crew mainly consisting of Old Scotch Football Club players.

OSCA Executive Director Tim Shearer put his considerable energy into arranging marketing, communications and photography, as well as handling many other issues. Tim was supported by the OSCA office staff, in particular Christine Cox and Kathryn Cairney.

However, there can be no denying that the passion, energy and strength of the cast were the key ingredients of the show’s success. Gerard Schneider led the way as Jean Valjean, ably supported by the other principals: Jon Ricketson as Javert, Ellen Casey as Fantine, Michael Waugh as Thénardier, Penny Valk as Madame Thénardier, Marianne Pierce as Eponine, Laura Slavin as Cosette, Stewart McGhee as Marius and Paul Gelsumini as Enjolras. They in turn were supported by a powerful chorus.

The huge momentum built up by such a successful production poses a question – could OSCA do it again with another big musical? GS