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December 2015
3
JERUDONG INTERNATIONAL SCHOOL
presents
LES MISÉRABLES® SCHOOL EDITION
Performed entirely by students
A musical by ALAIN BOUBLIL and CLAUDE-MICHEL SCHÖNBERG
Based on the novel by VICTOR HUGO
Music by CLAUDE-MICHEL SCHÖNBERG
Lyrics by HERBERT KRETZMER
Original French text by ALAIN BOUBLIL and JEAN-MARC NATEL
Additional material by JAMES FENTON
Orchestrations by JOHN CAMERON
Original London production directed and adapted by
TREVOR NUNN and JOHN CAIRD
Original London production by
CAMERON MACKINTOSH and THE ROYAL SHAKESPEARE COMPANY
School Edition specially adapted and licensed by
MUSIC THEATRE INTERNATIONAL and CAMERON MACKINTOSH
LES MISÉRABLES® SCHOOL EDITION
Is presented through special arrangement with Music Theatre International (MTI).
All authorized performance materials are also supplied by MTI.
www.MTIShows.com
Special Thanks to
Our Sponsors
Programme Cover Artwork by
Garry Whitehead
The videotaping or other video or audio recording of this production is strictly prohibited.
We thank you for your kind cooperation.
4 5
a large number of the actors have
had to double up (and at times
triple up) on the characters they
are performing. I am sure you will
agree that this represents a lot of
hard work on the part of every
performer on stage.
In addition to the stage per-
formers, numerous students
have worked backstage to paint
the set, build props, design and
make costumes, operate lights,
apply make-up, fix hair and work
as crew, pushing moveable set on
stage (wait for it… it is awesome)
and providing students with their
props back stage. The sheer talent
and resourceful ardour that each
and every student has shown has
been a privilege to witness.
It is not only the student team
that has given up their time to
produce this Musical. The level
of energy and support we receive
from the numerous members of
staff that volunteer to help with
productions has been staggering.
This year, Henry Holmes (who
played Fagin in last year’s produc-
tion of Oliver!) has come back to
school as the Drama ‘Gapper’. As
part of this role he has performed
the position of Assistant Director
leading rehearsals when I have
needed to lead another and has
worked directly with Principal
characters on their characterisa-
tion. He is a consummate profes-
sional and I know he will have a
successful career ahead of him in
the Arts. Garry Whitehead has re-
turned as the Production Designer
and again he has created a stagger-
ingly beautiful set that ‘forces the
perspective’ of the audience into
believing they are looking into an
even bigger space. I am simply in
awe of what Garry and his team of
students can do. They can trans-
form plain hardboard into a full
formed barricade in a day. I know
that the students in his team have
learnt a lot throughout the process
as well. Once again the costume
team have worked extremely hard
to create numerous costumes that
tell the story of each of the charac-
ters we see on stage. Some of the
actors change costume as many as
four times and the costume team
have provided perfectly tailored
outfits whenever they are needed.
Christine Brumpton and her team
have produced Pewter mugs for
the tea that are so historically ac-
curate that they look like antiques
and the Old Man’s silverware has
been expertly sourced to look
valuable whilst also looking old.
Once again, it has been an absolute
pleasure to work with Simon Cart-
er who, as Production Assistant,
has made sure that cast members
are fed, the foyer is the spectacle it
is and a myriad of other jobs, that
are too numerous to mention, get
done. Sam Findel-Hawkins has
once again transformed the stage
with his exceptional knowledge of
all things lighting, sound and stage
related. As Technical Director Sam
has worked closely with me to
produce beautiful vistas and col-
our washes that complement the
numerous mood and atmospheric
changes that we witness on stage.
Carolyn Moran has returned as
Choreographer, supporting all the
physical aspects of the production;
lending her patience and skill to
complex and detailed movement
on stage. Garry Thin is an inspi-
ration to work with. As a ‘through
sung’ performance he has had to
rehearse for hundreds of hours
with individuals, duets and at
times the whole cast to get the per-
fect sound on stage. It is an abso-
lute pleasure to work with him and
I learn new skills from him every
time I see him at work.
What you are about to watch
is a reflection of 14 weeks’ sheer
graft by a dedicated team of both
staff and students. At JIS we aim
to achieve excellence and I believe
that together, working as we do,
we have achieved just that – ex-
cellence. We hope you enjoy the
show!
Will Kemp
Director / Producer
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Barnaby Sandow
Principal
L
es Misérables is an incredible
show! My first experience of
the show was singing ‘Bring
Him Home’ as part of a charity
event in 2001. Whilst preparing
my performance, I researched the
play and was captivated by the sto-
ry of prisoner 24601…
Valjean’s story is one of transfor-
mation and redemption. Though
a known criminal and a parolee,
Valjean transforms into a mor-
al man who represents the best
traits of humanity. When singing
this song as a performer, you are
talking directly to a higher power,
asking for another human being
(Marius) to be looked after and
asking for his life to be spared. The
character of Valjean shares that
personal plea with us (the audi-
ence) and it is through powerful
and personal stories such as these,
set within the epic vistas and set-
tings of revolutionary France, that
the tale of Les Mis is told.
As Director of Drama, this is the
second large production which
I have directed and produced at
JIS; an excellent and exceptionally
special place. JIS is a school where
students are offered the opportu-
nity to perform in a professional
venue, with a full orchestra and the
support of a complete backstage
and technical team. This team
consists of both students and staff
who are wholeheartedly commit-
ted to this production. Some staff
have worked with me on numer-
ous productions whilst others are
new to the Performing Arts Team.
This year’s production has a
smaller cast that last year’s Oliver!
Today you will see 38 performers
take on 56 roles. This means that
Foreword
Director &
Producer
Will Kemp
Fahad Shiraz & Barnaby Sandow Henry Holmes & Charles Duru
6 7
L
es Misérables is based around
a little known and often for-
gotten event in French his-
tory, the 1832 June Rebellion. It
is often confused with the actual
French Revolution which began
with the Storming of the Bastille
in 1789. It is, however, set between
1815 and 1832 and culminates in
the doomed 1832 June Rebellion
against King Louis Philippe. In or-
der to understand the story of Les
Misérables it is necessary to appre-
ciate the history of revolutionary
France, which forms the backdrop
of Victor Hugo’s novel.
France had been an absolute
monarchy until the 1789 Revolu-
tion in which Louis XVI (of the
House of Bourbon) was over-
thrown and ultimately executed
in 1793 alongside his wife, Marie
Antoinette (of ‘Let Them Eat Cake’
fame). His overthrow was followed
by the creation of the French Re-
public and the Reign of Terror, a
violent spell in which rival factions
duelled it out for power, resulting
in the executions of nearly 40,000
people, using the now infamous
guillotine. This period ended with
the arrival of Napoleon Bonapar-
te in 1799 when, as a young and
hugely successful military officer,
he was involved in a coup d’etat
which resulted in him eventually
being crowned Emperor of France
in 1804 (by his own hand). Napo-
leon ruled France until his defeat
at Waterloo in 1815 and his exile
to St Helena, where he died.
The French then decided that it
was time to re-establish the Bour-
bon monarchy under Louis XVI’s
younger brother, Louis XVIII. He
was followed by Charles X who
ruled until it was his turn to be
overthrown in the 1830 July Rev-
olution. Charles was replaced as
king by his own younger broth-
er, Louis Philippe d’Orleans, who
began a reign known as the July
Monarchy. He ruled until 1848
when, unsurprisingly by now, he
was overthrown in yet another
revolution, when he had lost all
popularity.
Hugo’s Les Misérables is set dur-
ing the period following the exile
of Napoleon and the re-establish-
ment of the monarchy. However,
not everyone in France welcomed
the return of the Bourbons, many
still fervently believed in the prin-
ciples of the revolution, ‘Liberty,
Equality, Fraternity’ and were vi-
olently opposed to the perceived
betrayal of these principles with
a return to a monarchy, albeit one
limited by a constitution. The orig-
inal 1789 Revolution was, in part,
caused by the impoverished low-
er classes who were infuriated by
their economic hardships, food
shortages and the callous attitudes
of the upper classes. The lower
classes were not the only angry
voices. The middle class, inspired
by progressive ideologies and
America’s newly won freedom, de-
manded reform too. It appeared to
many that the return of the Bour-
bons was merely a return to these
hardships. In Les Misérables, Vic-
tor Hugo portrays a population
plagued by decades of oppression,
warfare, economic strife, famine,
and disease. Despite all of the rev-
olutions and changing political
parties, the lower classes still had
little influence or power in socie-
ty. Hugo chose the “Friends of the
ABC,” a fictional organization of
his own creation, to mirror many
of the small revolutionary groups
of the time.
The 1832 June Rebellion was an
example of revolutionary feeling
of the time and was an anti-mon-
archist rising by Parisian support-
ers of the now defunct Republic. It
began with the funeral of General
Lamarque, a Napoleonic gener-
al who was opposed to the resto-
ration of the Bourbons. He died
of cholera in 1832 but rumours
abounded of his poisoning by the
monarchy. These rumours fed the
anti-monarchist feeling in Par-
is, compounded by the economic
hardships of the period and led
to popular fear and resentment.
At Lamarque’s funeral a crowd
of 100,000 people assembled and
there were violent clashes between
the protesters and soldiers. The in-
famous barricades of Les Miséra-
bles were erected but only a small
number of the protesters were
actually armed, they were subse-
quently massacred by the Bour-
bon forces.
The 1832 Rebellion was crushed
within 24 hours and Louis
Philippe ruled for a further 16
years, it achieved little other than
the deaths of 166 people and
would most probably be relegated
to a footnote in history had it not
been chosen by Victor Hugo as the
setting of Les Misérables.
Matt Langridge
Head of History
History
W
ow! What a challenge we
faced back in early Sep-
tember to cast our cho-
sen show for this year, Les Miséra-
bles!
Last year, my Oliver! programme
note spoke of a first at JIS - the
challenge and joy of working with
the largest cast ever on stage in a
Musical. This year another first -
the challenge this time has been
mounting a piece of ‘sung-through’
musical theatre where the delivery
of all the lines in the script is sung!
This would place a huge demand
on the cast however I can honestly
say that our ‘dream cast’ selected
back in September, through their
enthusiasm, maturity, hard work
and musicality, have enabled this
latest musical challenge at JIS to be
brought to fruition with the stun-
ning results that you will witness
today.
Les Mis has become a ‘classic’
in the world of Musical Theatre.
Along with Phantom of the Opera,
it claims to be one of the longest
running musicals in the world,
with more than 60 million people
having seen the show, and it has
been performed professionally
over 48,000 times. Some years ago
I saw this show in Melbourne and
vividly remember being riveted by
the music and stage action.
Our opening night for this sea-
son, December 4th is the 30th
anniversary to the day, since the
World Premier production of the
English version opened at the Pal-
ace Theatre in London.
Why is this Musical so popular?
You will have your opinion after
watching the show today, but to
me it is a combination of the music
you will hear from the orchestra
pit and the stirring melodies con-
tained in the songs, that together
capture the full emotion of Victor
Hugo’s story. Whether emotions of
anger, despair, joy, hope or love,
the characters on stage today por-
tray them all convincingly.
The remarkable composition-
al techniques that Boublil and
Schönberg have used show how a
number of the memorable themes
from the songs are shared around
the musical fabric of the whole
score. Try and listen out for this
and you will appreciate the con-
summate whole of this magnifi-
cent production.
Thisterm,wehaveplacedinfront
of each cast member on stage, an
immense musical opportunity and
challenge. Each and everyone of
the students have excelled with not
only the musical and stagecraft de-
mands, but have met all of the JIS
school aims in the process, Lead-
ership, Language, Thinking Skills,
Integration, Active Engagement,
and Participation. Musical Theatre
- what a wonderful art form!
The level of today’s performance
could not have been achieved
without the professional support
from my talented music colleagues
in the orchestra pit who bring the
songs alive. I thank them for this.
I hope that you will enjoy Les
Misérables today. We have certain-
ly enjoyed bringing it to you!
Garry Thin
Musical Director
Musical
Director
Paul Edgeler
Marieta del Mar
Garry Thin
8 9
T
his year’s production pre-
sents some interesting chal-
lenges as the concept for the
set is that we only see events from
behind the barricade. In addition
the barricade needs to be move-
able but also solid enough for ac-
tors to walk across the top of it.
Two steel-frame trucks had to be
constructed to support the barri-
cade elements, and enable them to
be quickly brought on stage.
The location is Paris in 1789
with a forced perspective street
scene. This is created by using a
diagonal set of painted buildings
that reduce in size, as well as get-
ting lighter in colour as they re-
cede from the audience, creating a
sense of distance. The intention is
to convey the space in the boule-
vards of Paris before they are shut
off by the barricades.
There are some more experimen-
tal ideas in this year’s set which in-
volve the use of projected images.
To incorporate the images into
the architecture of the scenes the
buildings have been deliberately
painted in neutral tones. This also
enables the tricolore of red, white
and blue to be more easily dis-
played as the revolution develops.
Photography and video work by
Mr Kemp and the cast has been
edited and designed to be pro-
jected on to the set at key points
to further express the drama and
emotional resonance of the action
on stage.
Garry Whitehead
Set Designer
Set Design
V
ictor Hugo penned Les
Misérables in his later
years as a well-established
author. While social justice is of-
ten seen as a pursuit for the young,
Hugo’s advancing age had only
magnified his frustrations with
the social conditions of France at
the time, particularly the flawed
justice system, the lack of so-
cial welfare for the poor, and the
monarchy. He was so outspoken
that when Les Misérables was pub-
lished, Hugo was living in exile
due to his outspoken opposition to
the monarch Louis Napoléon.
Despite his leftist views, Hugo
remained an ardent capitalist - at
least when it came to knowing
how much an especially good
book from an enormously popu-
lar writer could fetch in the pub-
lishing market of the day. When a
Belgian publishing house bought
the rights to Les Misérables, they
mounted a six-month marketing
campaign that, while not at all out
of the ordinary in the 21st century,
was remarkably cutting-edge for
its time. The book was originally
sold in instalments; the first, titled
Fantine was released simultane-
ously in a myriad of cities world-
wide, much like a modern day
blockbuster film debut. While the
critics’ reactions were mixed, the
public’s response was overwhelm-
ingly positive: the book sold out
within hours of its initial release.
Even the French government,
which had exiled Hugo himself,
made a point of addressing many
of the issues raised in the book in
order to anticipate the demands of
Les Mis-mad public.
The decades-spanning plot of
Les Misérables concerns the im-
prisonment and redemption of
Jean Valjean, how he raises Co-
sette, the daughter of Fantine, as
his own child, and how he is pur-
sued by the relentless Inspector
Javert. Much of this is set against
a background of social upheaval in
France. Many of the major char-
acters represent a problem facing
French society at the time: Jean
Valjean represents the degradation
of the working-class man, Fantine
represents the subjugation of im-
poverished women, and Cosette
represents the fate of innocents
born to dire circumstances. How-
ever, unlike other novels that use
characters as symbols, what makes
Les Misérables’ central characters
unique is that its symbolic char-
acters are also round characters,
capable of change over time. Not
only does this make the characters
more lifelike, it also gives the au-
dience hope that social ills can be
overcome in time. As Victor Hugo
said himself:
The book which the reader has
before him at this moment is,
from one end to the other, in its
entirety and details ... a progress
from evil to good, from injustice
to justice, from falsehood to truth,
from night to day, from appetite to
conscience, from corruption to life,
from hell to heaven, from nothing-
ness to God.
In the end, it is not merely the
dramatisation of social ills in a
particular place in time that make
Les Misérables such a stalwart
member of the literary canon: its
portrayal of people with the ca-
pacity to change for the better up-
lifts the human spirit and gives the
audience hope for a better future:
that our society and ourselves are
capable of positive change.
Barnaby Davis
Head of English
Novel &
Author
Garry Whitehead
10 11
T
he costume team researched
French costumes from the
early 19th Century and cre-
ated a mood board with colour
palettes for the main characters
and individual groups of actors.
The students learned how to cut
fabric, hand-sew and use a sewing
machine in order to make some of
the simpler items seen on stage.
Other items were sourced or tai-
lored and then adapted for stage
by adding embellishments, alter-
ing or distressing to achieve an au-
thentic look.
Angela Piddington
Costume Designer
Costumes
I
t has taken weeks of research
and practise to transform these
healthy, good-looking students
into the underfed, unwashed, sing-
ing gutter feeders of Les Misérables
- it indeed did require a bit of el-
bow-grease.
Aside from wishing to chop off
everyone’s hair with garden shears,
the hair and makeup team aimed
to create fatigued eyes, grungy
teeth, and chunky, textured make-
up that completely transformed
the look of some of the youthful
JIS cast, transporting them to 19th
century France, encapsulating the
plight of many at that time…
Kim Kruger
Hair & Makeup
Styling
I
n the Prop-Making CCA (Jun-
ior School), we have been mak-
ing props for Les Misérables.
We have been painting rifles, mak-
ing brooms and a chopping board
to stab a knife into, collecting and
cleaning metal cups and fake silver
ware. We spent hours making our
props good enough for the show. It
was fun to do. We feel very proud
when we see our props being used
in the show.
Christine Brumpton
Props Designer
Props
Lighting
I
t is difficult to conjure up a pic-
ture of Paris in my mind with-
out immediately hearing the
unmistakable sound of an accor-
dion player. The corrugated bel-
lows expanding and contracting
are, for me, Paris breathing. Les
Misérables is an epic story told on
a grand scale and covering many
years. However, it is also the sto-
ry of a few individuals trying their
best to live, to survive, to breathe.
As the story switches between the
personal and the epic, the lighting
expands and contracts, from huge
stage pictures that give the audi-
ence a chance to fill their lungs full
before the picture collapses and
constricts down to reveal the indi-
vidual plight of the people caught
up in our story.
Sam Findel-Hawkins
Technical Director
12 13
Director’s Concept...
T
his performance is told from the
perspective of the student revolu-
tionaries. In the set, we see the
idealised imagery of Paris, where we
literally see the ideas of the revolu-
tion projected. In the foreground of
the set we see two contrasting build-
ings: one that shows the rich and es-
tablished authority of France and the other that
represents the homes and work places of the underprivileged un-
derclass. Characters that are key to the story are detailed and
naturalistic with emblematic costuming used to identify those
that represent the State (Javert in his Blue uniform) and those
who represent the revolution (Gavroche and Enjolras with their
banners and hair braids of red, white and blue).
Garry Whitehead and I first met in June of 2014 to discuss the
set for Les Mis. We discussed the premise of the story and es-
tablished the numerous locations that we would need to include
in the staging of the play. With this in mind, we picked loca-
tions that would be fixed in the minds of the students that sur-
vived the ‘Revolution’. The vast open plazas of Paris, juxtaposed
against the claustrophobic proximity of the Barricade, allow the
audience to see how the world of the ‘students’ shrank as the
revolution came to a climax. As we see the whole story from the
perspective of the students, we never see the far side of the
barricade. We, as the audience, take the side of the students
both figuratively and literally.
The Costume Team (Angela Piddington, Julie Ayres and Tracey
Purkis) and I all met in July of last year. We first talked about
the general mood of the performance and the way costume could add
to this atmosphere. We discussed the fact that, at the begin-
ning of the play, the entire cast need to appear like they have
been in a forced labour camp for years. This ‘feeling’ is shown
through damaged and scuffed clothing that looks like it has been
used. It was really important to me that costumes, in general,
looked used and lived in. Monsieur and Madame Thenardier are both
dressed in gaudy clothes that they have stolen from numerous past
guests. Their costumes have been worn, they have blood stains on
them and in short, they tell a story. Whilst watching the play
I would like the audience to ‘read’ the characters’ and imagine
what their lives were like before we see them on stage.
The Props, where used, are as accurate as we could make them.
The Muskets are exact replicas (in size and shape) of the smooth
bore muskets used in the Revolution and the Mugs are a copy of
a 17th Century design. Christine Brumpton (and her amazing,
hardworking team of Year 2, 3 and 4’s) as well as the D&T de-
partment have taken my requests for 30 Muskets and 35 Mugs in
their stride and have still managed to find time to make Can-
dle Sticks that can fly (wait for it!), other ‘precious sil-
ver’ that has been expertly aged and other miscellaneous props.
Again the props reflect that the story is told from the per-
spective of the students. What they use and handle is as real
as we can make it, whereas the silver that Valjean steals is
what one might imagine silver to look like.
The story is told from the idealised perspective of the stu-
dents. Due to this the lighting is, at times, patriotic in na-
ture and at others epic in scale and grandeur when transition
takes place. Sunsets and sunrises are once again (for those
that came to see Oliver!) a vehicle to demonstrate the passing
of time and are used as a metaphor for life and death, birth
and beginnings, revolutions and war. Sam Findel-Hawkins uses
the neutral colour of the set as a ‘canvas’ on which he can
‘paint’ broad colour washes (to support songs and mood transi-
tions) and project timed footage to show the thoughts of the
Characters and to show action ‘off stage’.
Music tells the story of Les Mis. As a
through sung musical there are few spoken
lines and because of this every performer
must tell his or her story with every word.
Revolution takes a group of people to agree
to revolt. In Les Mis the ‘people’ are an-
gry and we see this in group songs that are
performed. It is in the solos; however, that
the personal stories of the revolution are
told. Garry Thin has expertly balanced the
epic themes contained within the large choral numbers and spe-
cific musical motifs that indicate to the audience that a char-
acter is about to arrive. Javert’s motif is easily the most
recognisable and it represents both him and the authority of
the state. We, the audience, know he is the villain and the
students also see him as such. The audience and students are
aligned in perspective.
Les Misérables is a story which asserts that love and compas-
sion are the most important gifts one person can give another
and that the most important goal in life should be to display
these qualities. We are taken along on this journey with in-
dividual characters and their stories where we eventually end
with the story of the students and their eventual deaths. We
see this through the eyes of the students and are convinced by
their passion and energy that the revolution must succeed!
We hope you enjoy the show!
Will Kemp
14 15
Principals
Valjean Fahad Shiraz
Javert Aaron Klein
Old Man / Chorus Robert Wood
Fantine / Chorus Yasmin Riches
Young Cosette / Chorus Sachi Dieker
Madame Thénardier / Chorus Cristeen Park
Thénardier/ Chorus Charles Duru
Gavroche / Chorus Rafeeqa Teo
Enjolras/ Chorus Eden Chiam
Marius/ Convict Alex Stagg
Eponine / Chorus Maya Roy Prabhakaran
Cosette/ Chorus Florence Holmes
Cast
Multi-Roles
Old Crone/ Factory Girl/ Feuilly/ Chorus Emily Carter
Labourer/ Gang Member/ Student/ Chorus Nick Bourbon
Farmer/ Gang Member/ Student/ Chorus Luke Conway
Constable/ Pierre/ Chorus William Brien
Comberferre/ Student/ Chorus Phoebe Ten
Foreman/ Prisoner/ Student/ 2nd Monsieur/ Chorus Yen Yen Pek
Grantaire/ Prisoner/ Chorus Louis Malik
Joly/ Prisoner/ Chorus Esme Smith
Courfeyrac/ Prisoner/ Chorus Evan Chiam
Young Eponine/ Angry Girl/ Gang Member/ Chorus Rebecca Yahya
Chorus
Chorus Member Rebecca Sargent
Student/ Chorus Cyleen Pabillore
Student/ Chorus Batrisyia Junaidi
Student/ Chorus Natalie Krebs
Student/ Chorus Manikya Maxim
Hat Wearer/ Chorus Ellie Briffa
Student/ Chorus Nayumi Reduan
1st Monsieur/ Innocent Man/ Chorus Hau Chien Tang
Captain soldier/ Constable/ Chorus Toby Harris
Clarke of the Court/ Chorus Adi Sherchan
Jury member/ Chorus Kate Edgeler
Judge/ Chorus Holly Canton
Court Usher/ Chorus Erna Maciulis
Student/ Chorus Kassy Pacudan
Student/ Chorus Kester Pacudan
Student/ Chorus Kate Pacudan
Fahad Shiraz Aaron Klein Robert Wood Yasmin Riches
Sachi Dieker Cristeen Park Charles Duru Rafeeqa Teo
Eden Chiam Alex Stagg Maya Roy Prabhakaran Florence Holmes
16 17
PROLOGUE: 1815, DIGNE
Song #1 - Look Down
Look down! Look down!
You’ll always be a slave.
Look down! Look down!
You’re standing in your grave.
We first meet Jean Valjean, the main character in Les Misèrables, as a prisoner, condemned for
stealing a loaf of bread. After serving 19 years in the chain gang (Prisoner 24601, a man of im-
mense physical strength), Valjean finds that the conditions for his release condemn him to weekly
meetings with his parole officer. Escaping to find true freedom makes him now an outcast, hunted
by the law, represented by police Inspector Javert. Only a wise Old Man treats him kindly and
Valjean, embittered by years of hardship, repays him by stealing some silver. Valjean is caught and
brought back by the police and is astonished when the Old Man lies to the police to save him. Val-
jean decides to start his life anew.
b b b
Programme
Notes 1823, MONTREUIL-SUR-MER
Song #2 - At the End of the Day
At the end of the day you’re another day older
And that’s all you can say for the life of the poor
It’s a struggle, it’s a war
And there’s nothing that anyone’s giving
One more day, standing about, what is it for?
Eight years have passed and Valjean, having broken his parole and changed his name to Monsieur
Madeleine, has become a factory owner and Mayor. One of his workers, Fantine, has a secret ille-
gitimate child. When the other women discover this, they demand her dismissal.
Desperate for money to pay for medicines for her daughter, Fantine sells her hair, and then utterly
degraded, she is attacked by, then fights, a gang of men and is about to be taken to prison by In-
spector Javert.Javert is a policeman who knew Valjean when he was a prisoner and has sworn to
hunt him down ever since Valjean failed to meet the terms of his parole. However, in his new life
as the Mayor, Javert has not yet recognised Prisoner 24601.
‘The Mayor’, Valjean, arrives as Javert is about to arrest Fantine, shows compassion and demands
she be taken to hospital instead. The Mayor then rescues a man pinned beneath a large crate. Javert
is reminded of the abnormal strength of Prisoner 24601, Jean Valjean. He still does not recognise
Valjean, because the police have just arrested another man who they think is Valjean. Valjean, un-
able to see an innocent man go to prison, confesses that he is Prisoner 24601.
At the hospital, Valjean promises the dying Fantine to find and look after her daughter Cosette.
Javert arrives to arrest him, but Valjean escapes.
b b b
1823, MONTFERMEIL
Song #8 - Master of the House
Master of the house
Quick to catch yer eye
Never wants a passerby
To pass him by
Servant to the poor
Butler to the great
Comforter, philosopher,
And lifelong mate!
Cosette has been lodged with the Thénardiers, who treat her very badly while giving all the money
for supporting her to their own daughter, Eponine. Valjean pays the Thénardiers to let him take
Cosette away to Paris.
b b b
L
es Misérables is a challeng-
ing musical for the audience.
The action ranges over sev-
eral years. Characters age, and are
played by other actors/actresses.
The plot is complex, and the stage
action presents to us what can
seem as broken pieces of a much
longer story.
In fact, the original novel by Vic-
tor Hugo is listed in some records
as the 13th longest novel of all
time (several of the top 15 are in
French). It contains 655,478 words
(I wonder if it is more, or fewer,
when translated into English). The
musical has to tell the story in only
2 hours. We will leave you to “do
the Math!”
You may like to follow the events
using the Programme Notes be-
low. They will keep you up-to-date
with the events as they unfold,
and give a little background to the
main characters.
We have included the locations
and dates, and also the main mu-
sical “songs”, using their original
numbering. Between each song
listed here are, of course, many
numbered musical “fragments”
since the whole play is sung. Dia-
logues between characters, solilo-
quies, all are sung, sometimes with
musical echoes of themes from
previous songs.
We hope it helps. If you get lost,
you are not alone. Sit back and en-
joy the spectacle and song of one
of the best-loved musicals of the
modern world.
Simon Carter
Production Assistant
ACT ONE
18 19
When the beating of your heart
Echos the beating of the drums
There is a life about to start
When tomorrow comes!
The students have built a barricade. Marius, noticing that Eponine has joined the insurrection,
sends her away with a letter to Cosette, which is intercepted by Valjean. Eponine decides to rejoin
her love at the barricade.
Song #18 - One Day More
One day to a new beginning
Ev’ry man will be a king
The barricade is built and the revolutionaries defy an army warning to give up or die. Javert is ex-
posed as a police spy. In trying to return to the barricade, Eponine is killed.
Valjean arrives at the barricade in search of Marius. He is given the chance to kill Javert but instead
lets him go. The students settle down for a night on the barricade and, in the quiet of the night,
Valjean prays to God to save Marius. The next day the rebels are all killed.
Song #22 - The Night
Drink with me
To days gone by
To the life that used to be
Let the bond of friendship
Never run dry
Valjean escapes with the unconscious Marius, he then comes across Javert once more. He pleads
for time to deliver the young man to hospital. Javert lets Valjean go and, his unbending principles
of justice having been shattered by Valjean’s own mercy, he kills himself.
Song #26 - Javert's Suicide
Turning, turning, turning through the years
Minutes into hours and the hours into years.
Nothing changes, nothing ever can
Round and round the roundabout and back where you began!
Unaware of the identity of his rescuer, Marius recovers in Cosette’s care. Valjean confesses the
truth of his past to Marius and insists he must go away. Marius realises it was Valjean who rescued
him the night that the barricade fell. He and Cosette rush to visit Valjean, who is alone and dying
in sadness. Here, Cosette learns for the first time of her own history and there is a final reconcilia-
tion, after which, happy to be reunited with his adopted daughter, Valjean dies in peace.
#30 Epilogue
1832, PARIS
Song #10 - Look Down 2 (The Beggars' track)
Look down, look down, and show some mercy if you can
Look down, look down, upon your fellow man!
Nine years later, there is unrest in the city because of the likely demise of the popular leader Gen-
eral Lamarque, the only man left in the government who shows any feeling for the poor. The young
idealistic student Marius is speaking alongside the inspiring protester, Enjolras, when he sees Co-
sette and instantly falls in love.
The Thénardiers’ daughter Eponine, who is secretly in love with the student Marius, reluctantly
agrees to help him find Cosette. News of General Lamarque’s death circulates in the city and a
group of politically-minded students stream out into the streets to whip up support for a revolu-
tion.
Song #13 - Red and Black
Red - the blood of angry men!
Black - the dark of ages past!
Red - a world about to dawn!
Black - the night that ends at last!
Cosette is consumed by thoughts of Marius, with whom she has fallen in love. Eponine brings
Marius to Cosette and then Valjean, convinced it was Javert lurking outside his house, tells Cosette
they must prepare to flee the country.
b b b
Interval
b b b
Song #14 - Do You Hear the People Sing?
Do you hear the people sing?
Singing a song of angry men?
It is the music of a people
Who will not be slaves again!
ACT TWO
20 21
Production Team
Director / Producer
Will Kemp
b
Musical Director
Garry Thin
b
Choreographer
Carolyn Moran
b
Designer
Garry Whitehead
b
Assistant Director
Henry Holmes
b
Assistant Director
Anna Hogan
b
Assistant Producer
Simon Carter
Orchestra
Musical Director & Vocal Coach
Garry Thin
b
Keyboard 1 & Vocal Coach
Marieta del Mar
b
Keyboard 2
Stefanie Chua
b
Keyboard 3
Hayley McReynolds
b
Keyboard, Bass
Faith Klein
b
Clarinet, Saxophone
Rachel Drew
b
Flute
Nicole Sumich
b
Flute
Shilah Husaimee
b
Trumpet 1
Paul Edgeler
b
Trumpet 2
Julian Smith
b
Trombone
Richard Clarkson
Horn
Nick Smith
b
Drums
Pg Sallehuddin Pg Mohd Noor
b
Guitar
Darryl Luma-As
b
Percussion
Jamie Sales
Props
Coordinator
Christine Brumpton
b
Ruth Bourbon
Francesca Dale
Izzah Dar
Tess Hann
Merryn Hogan
Yoshiki Kaneko
Jordan Lo
Drew Morel
Bryanna Richards
Gemma Saap
Olivia Smith
Amicie Vellaud
Refreshments
Coordinator
Elly Green
b
Fatin Abusufian
Izzati Ahan
Wendy Aquino
Mark Eastham
Blade Eastham
Elise Eastham
Sabre Eastham
Justin Harris
Nabilah Ali Hassan
Lina Kua
A’Lya Nazmi
Alissa Rudy
Hazimah Sabirin
Esther Wong
b
Coordinator
Jeandre Henning
The Borneo Project
Photos Credits
22 23
Set Painters
Coordinator
Garry Whitehead
b
Fatin Amisah Abusufian
Shaffena Affendy
Tajima Algewattege
Tope Ayodele
Hana Ahmad Baihaki
Tasneem Cader
Andrea Chan
Shiuh Lin Chan
Anisha Chua
Firah Fauzi
Nabilah Ali Hassan
Farah Amer Hishamuddin
Nisa Karamina Hussin
Daphne Ng
Huda Omarali
Grace Power
Ameerah Shamsulniza
Aiysha Shariful
Arran Ahmad Ulab
Ruth Wong
Yew Qi Yap
Hair and Makeup
Coordinators
Kim Kruger
Ruth Bourbon
b
Assistants
Mariam Abdullah
Marinka Gnaden
Lynne Hutchinson-Whitehead
Karly Downey
Sian Thacker
Helena Jacobsen
b
Mahnoor Abbasi
Aqilah Adinin
Nisa Adzlan
Rasyidah Ali
Izzati Azhan
Hafizah Azhar
Azma Aziz
Aleena Dar
Adlina Dzulkiflee
Ally Foley
Molly Foley
Dristi Gautam
Natalie Hallot
Haida Haslen
Kara Hussin
Ezza Majit
Zali McPherson
Aliza Nafees
Cartoon Nakham
Maryam Omar
Asuka Osawa
Najdah Rahman
Syasya Rosdi Amin
Badzlena Selamat
Batrisya Selamat
Kezom Sherpa
Farah Sufri
Joy Wong
Hasanah Zainal
Technical Team
Technical Director
Sam Findel-Hawkins
b
Arts Centre Staff
Freda Chen
Syarif Baharuddin
Hadi Suphien
Daus Mohd Salleh
Milo Valentino
b
Tech Club
Jeslynn Ong
Rutaba Saiful
Natalie Lim
John Fung
Wafid Sophian
Vanessa Kwong
Chan Zhi Goh
Faiq Faizal
Sirren Munawar
Samuel Kong
Amirrul Kasmirhan
Mabel Foo
Hisyam Abidin
Credits Credits
LesMis_Programme_LoRes (2) (1)
LesMis_Programme_LoRes (2) (1)
LesMis_Programme_LoRes (2) (1)
ADVERT
Brunei Press
Tel: +673 2 411 000
Fax: +673 2 411 013
Email: office@jis.edu.bn
http://www.jis.edu.bn
Jerudong International School
P O Box 1408
Bandar Seri Begawan, BS8672
Negara Brunei Darussalam

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LesMis_Programme_LoRes (2) (1)

  • 2. 3 JERUDONG INTERNATIONAL SCHOOL presents LES MISÉRABLES® SCHOOL EDITION Performed entirely by students A musical by ALAIN BOUBLIL and CLAUDE-MICHEL SCHÖNBERG Based on the novel by VICTOR HUGO Music by CLAUDE-MICHEL SCHÖNBERG Lyrics by HERBERT KRETZMER Original French text by ALAIN BOUBLIL and JEAN-MARC NATEL Additional material by JAMES FENTON Orchestrations by JOHN CAMERON Original London production directed and adapted by TREVOR NUNN and JOHN CAIRD Original London production by CAMERON MACKINTOSH and THE ROYAL SHAKESPEARE COMPANY School Edition specially adapted and licensed by MUSIC THEATRE INTERNATIONAL and CAMERON MACKINTOSH LES MISÉRABLES® SCHOOL EDITION Is presented through special arrangement with Music Theatre International (MTI). All authorized performance materials are also supplied by MTI. www.MTIShows.com Special Thanks to Our Sponsors Programme Cover Artwork by Garry Whitehead The videotaping or other video or audio recording of this production is strictly prohibited. We thank you for your kind cooperation.
  • 3. 4 5 a large number of the actors have had to double up (and at times triple up) on the characters they are performing. I am sure you will agree that this represents a lot of hard work on the part of every performer on stage. In addition to the stage per- formers, numerous students have worked backstage to paint the set, build props, design and make costumes, operate lights, apply make-up, fix hair and work as crew, pushing moveable set on stage (wait for it… it is awesome) and providing students with their props back stage. The sheer talent and resourceful ardour that each and every student has shown has been a privilege to witness. It is not only the student team that has given up their time to produce this Musical. The level of energy and support we receive from the numerous members of staff that volunteer to help with productions has been staggering. This year, Henry Holmes (who played Fagin in last year’s produc- tion of Oliver!) has come back to school as the Drama ‘Gapper’. As part of this role he has performed the position of Assistant Director leading rehearsals when I have needed to lead another and has worked directly with Principal characters on their characterisa- tion. He is a consummate profes- sional and I know he will have a successful career ahead of him in the Arts. Garry Whitehead has re- turned as the Production Designer and again he has created a stagger- ingly beautiful set that ‘forces the perspective’ of the audience into believing they are looking into an even bigger space. I am simply in awe of what Garry and his team of students can do. They can trans- form plain hardboard into a full formed barricade in a day. I know that the students in his team have learnt a lot throughout the process as well. Once again the costume team have worked extremely hard to create numerous costumes that tell the story of each of the charac- ters we see on stage. Some of the actors change costume as many as four times and the costume team have provided perfectly tailored outfits whenever they are needed. Christine Brumpton and her team have produced Pewter mugs for the tea that are so historically ac- curate that they look like antiques and the Old Man’s silverware has been expertly sourced to look valuable whilst also looking old. Once again, it has been an absolute pleasure to work with Simon Cart- er who, as Production Assistant, has made sure that cast members are fed, the foyer is the spectacle it is and a myriad of other jobs, that are too numerous to mention, get done. Sam Findel-Hawkins has once again transformed the stage with his exceptional knowledge of all things lighting, sound and stage related. As Technical Director Sam has worked closely with me to produce beautiful vistas and col- our washes that complement the numerous mood and atmospheric changes that we witness on stage. Carolyn Moran has returned as Choreographer, supporting all the physical aspects of the production; lending her patience and skill to complex and detailed movement on stage. Garry Thin is an inspi- ration to work with. As a ‘through sung’ performance he has had to rehearse for hundreds of hours with individuals, duets and at times the whole cast to get the per- fect sound on stage. It is an abso- lute pleasure to work with him and I learn new skills from him every time I see him at work. What you are about to watch is a reflection of 14 weeks’ sheer graft by a dedicated team of both staff and students. At JIS we aim to achieve excellence and I believe that together, working as we do, we have achieved just that – ex- cellence. We hope you enjoy the show! Will Kemp Director / Producer B or mo tempore pellabo. Me poraerovit quam enimolor moluptam, as eos eicat porendis nonsequ iatibus aperum quatur, que eatur suntureniam fu- gia sam veles dolo ipitat. Bus sequam sum, odit quatis no- bistis sum hit, nihil ma nonem ea- quost es et es sameni beatium ac- cus doloriberi doluptaquae. Uptiis quat plitate eariae. Et quam aliqui con cone veniscienis quis dus uta et vel int hici beatia in nus, alica- bor rem eiusamus aut facesed mil iur, sint aut ped quamus as dolore nis eic tectia nonem quidit volor- rorro con cus doluptaqui dit quos- si cuptasinum architia net reptiam dis et ut ea con nonse ra volup- tatem quibus pa dolent ma vero doluptasped ut omnit, cuscias eos dolenim agnisi berum que dunt. Xerum lam aut a quibusciatem aut aut ad quibusdae que num faccae magnatem inum volore nosape- rum aut dolupta volore soluptae moluptatia nossunto dollentiis ei- unt, earum non poremporem laut et ipis aut a necus con et apiet omnimus vel et as autem que ni- tiaesequo etus reperatem facescil ipienim usandus est, officidebita quame ped quid quo doluptia volo quatio maionserro temporro eate- mol uptint. Lestrum, cus dolupta tendaerios et optatiorrore consendelit estem et ea voluptat adi debitis a sincia- tur? Sam quid ulparia voluptum fugiasp ellabor eiumquidipsa sec- tae nonsed utae plitius ped molup- ta corporere et ipsam, quas quas magnia nam et optatia voloriatus ex eate omnist electo berferecum la volore sed quid est pero eosam, ium nonsequodis acienet quiam, iusti quibusdantio volores ipsam hic tem il et molectae dolorem hitions editiae explit ullo doloris quia dolupturi quam, odit, aut odi venditas sae omnis di volectur. Barnaby Sandow Principal L es Misérables is an incredible show! My first experience of the show was singing ‘Bring Him Home’ as part of a charity event in 2001. Whilst preparing my performance, I researched the play and was captivated by the sto- ry of prisoner 24601… Valjean’s story is one of transfor- mation and redemption. Though a known criminal and a parolee, Valjean transforms into a mor- al man who represents the best traits of humanity. When singing this song as a performer, you are talking directly to a higher power, asking for another human being (Marius) to be looked after and asking for his life to be spared. The character of Valjean shares that personal plea with us (the audi- ence) and it is through powerful and personal stories such as these, set within the epic vistas and set- tings of revolutionary France, that the tale of Les Mis is told. As Director of Drama, this is the second large production which I have directed and produced at JIS; an excellent and exceptionally special place. JIS is a school where students are offered the opportu- nity to perform in a professional venue, with a full orchestra and the support of a complete backstage and technical team. This team consists of both students and staff who are wholeheartedly commit- ted to this production. Some staff have worked with me on numer- ous productions whilst others are new to the Performing Arts Team. This year’s production has a smaller cast that last year’s Oliver! Today you will see 38 performers take on 56 roles. This means that Foreword Director & Producer Will Kemp Fahad Shiraz & Barnaby Sandow Henry Holmes & Charles Duru
  • 4. 6 7 L es Misérables is based around a little known and often for- gotten event in French his- tory, the 1832 June Rebellion. It is often confused with the actual French Revolution which began with the Storming of the Bastille in 1789. It is, however, set between 1815 and 1832 and culminates in the doomed 1832 June Rebellion against King Louis Philippe. In or- der to understand the story of Les Misérables it is necessary to appre- ciate the history of revolutionary France, which forms the backdrop of Victor Hugo’s novel. France had been an absolute monarchy until the 1789 Revolu- tion in which Louis XVI (of the House of Bourbon) was over- thrown and ultimately executed in 1793 alongside his wife, Marie Antoinette (of ‘Let Them Eat Cake’ fame). His overthrow was followed by the creation of the French Re- public and the Reign of Terror, a violent spell in which rival factions duelled it out for power, resulting in the executions of nearly 40,000 people, using the now infamous guillotine. This period ended with the arrival of Napoleon Bonapar- te in 1799 when, as a young and hugely successful military officer, he was involved in a coup d’etat which resulted in him eventually being crowned Emperor of France in 1804 (by his own hand). Napo- leon ruled France until his defeat at Waterloo in 1815 and his exile to St Helena, where he died. The French then decided that it was time to re-establish the Bour- bon monarchy under Louis XVI’s younger brother, Louis XVIII. He was followed by Charles X who ruled until it was his turn to be overthrown in the 1830 July Rev- olution. Charles was replaced as king by his own younger broth- er, Louis Philippe d’Orleans, who began a reign known as the July Monarchy. He ruled until 1848 when, unsurprisingly by now, he was overthrown in yet another revolution, when he had lost all popularity. Hugo’s Les Misérables is set dur- ing the period following the exile of Napoleon and the re-establish- ment of the monarchy. However, not everyone in France welcomed the return of the Bourbons, many still fervently believed in the prin- ciples of the revolution, ‘Liberty, Equality, Fraternity’ and were vi- olently opposed to the perceived betrayal of these principles with a return to a monarchy, albeit one limited by a constitution. The orig- inal 1789 Revolution was, in part, caused by the impoverished low- er classes who were infuriated by their economic hardships, food shortages and the callous attitudes of the upper classes. The lower classes were not the only angry voices. The middle class, inspired by progressive ideologies and America’s newly won freedom, de- manded reform too. It appeared to many that the return of the Bour- bons was merely a return to these hardships. In Les Misérables, Vic- tor Hugo portrays a population plagued by decades of oppression, warfare, economic strife, famine, and disease. Despite all of the rev- olutions and changing political parties, the lower classes still had little influence or power in socie- ty. Hugo chose the “Friends of the ABC,” a fictional organization of his own creation, to mirror many of the small revolutionary groups of the time. The 1832 June Rebellion was an example of revolutionary feeling of the time and was an anti-mon- archist rising by Parisian support- ers of the now defunct Republic. It began with the funeral of General Lamarque, a Napoleonic gener- al who was opposed to the resto- ration of the Bourbons. He died of cholera in 1832 but rumours abounded of his poisoning by the monarchy. These rumours fed the anti-monarchist feeling in Par- is, compounded by the economic hardships of the period and led to popular fear and resentment. At Lamarque’s funeral a crowd of 100,000 people assembled and there were violent clashes between the protesters and soldiers. The in- famous barricades of Les Miséra- bles were erected but only a small number of the protesters were actually armed, they were subse- quently massacred by the Bour- bon forces. The 1832 Rebellion was crushed within 24 hours and Louis Philippe ruled for a further 16 years, it achieved little other than the deaths of 166 people and would most probably be relegated to a footnote in history had it not been chosen by Victor Hugo as the setting of Les Misérables. Matt Langridge Head of History History W ow! What a challenge we faced back in early Sep- tember to cast our cho- sen show for this year, Les Miséra- bles! Last year, my Oliver! programme note spoke of a first at JIS - the challenge and joy of working with the largest cast ever on stage in a Musical. This year another first - the challenge this time has been mounting a piece of ‘sung-through’ musical theatre where the delivery of all the lines in the script is sung! This would place a huge demand on the cast however I can honestly say that our ‘dream cast’ selected back in September, through their enthusiasm, maturity, hard work and musicality, have enabled this latest musical challenge at JIS to be brought to fruition with the stun- ning results that you will witness today. Les Mis has become a ‘classic’ in the world of Musical Theatre. Along with Phantom of the Opera, it claims to be one of the longest running musicals in the world, with more than 60 million people having seen the show, and it has been performed professionally over 48,000 times. Some years ago I saw this show in Melbourne and vividly remember being riveted by the music and stage action. Our opening night for this sea- son, December 4th is the 30th anniversary to the day, since the World Premier production of the English version opened at the Pal- ace Theatre in London. Why is this Musical so popular? You will have your opinion after watching the show today, but to me it is a combination of the music you will hear from the orchestra pit and the stirring melodies con- tained in the songs, that together capture the full emotion of Victor Hugo’s story. Whether emotions of anger, despair, joy, hope or love, the characters on stage today por- tray them all convincingly. The remarkable composition- al techniques that Boublil and Schönberg have used show how a number of the memorable themes from the songs are shared around the musical fabric of the whole score. Try and listen out for this and you will appreciate the con- summate whole of this magnifi- cent production. Thisterm,wehaveplacedinfront of each cast member on stage, an immense musical opportunity and challenge. Each and everyone of the students have excelled with not only the musical and stagecraft de- mands, but have met all of the JIS school aims in the process, Lead- ership, Language, Thinking Skills, Integration, Active Engagement, and Participation. Musical Theatre - what a wonderful art form! The level of today’s performance could not have been achieved without the professional support from my talented music colleagues in the orchestra pit who bring the songs alive. I thank them for this. I hope that you will enjoy Les Misérables today. We have certain- ly enjoyed bringing it to you! Garry Thin Musical Director Musical Director Paul Edgeler Marieta del Mar Garry Thin
  • 5. 8 9 T his year’s production pre- sents some interesting chal- lenges as the concept for the set is that we only see events from behind the barricade. In addition the barricade needs to be move- able but also solid enough for ac- tors to walk across the top of it. Two steel-frame trucks had to be constructed to support the barri- cade elements, and enable them to be quickly brought on stage. The location is Paris in 1789 with a forced perspective street scene. This is created by using a diagonal set of painted buildings that reduce in size, as well as get- ting lighter in colour as they re- cede from the audience, creating a sense of distance. The intention is to convey the space in the boule- vards of Paris before they are shut off by the barricades. There are some more experimen- tal ideas in this year’s set which in- volve the use of projected images. To incorporate the images into the architecture of the scenes the buildings have been deliberately painted in neutral tones. This also enables the tricolore of red, white and blue to be more easily dis- played as the revolution develops. Photography and video work by Mr Kemp and the cast has been edited and designed to be pro- jected on to the set at key points to further express the drama and emotional resonance of the action on stage. Garry Whitehead Set Designer Set Design V ictor Hugo penned Les Misérables in his later years as a well-established author. While social justice is of- ten seen as a pursuit for the young, Hugo’s advancing age had only magnified his frustrations with the social conditions of France at the time, particularly the flawed justice system, the lack of so- cial welfare for the poor, and the monarchy. He was so outspoken that when Les Misérables was pub- lished, Hugo was living in exile due to his outspoken opposition to the monarch Louis Napoléon. Despite his leftist views, Hugo remained an ardent capitalist - at least when it came to knowing how much an especially good book from an enormously popu- lar writer could fetch in the pub- lishing market of the day. When a Belgian publishing house bought the rights to Les Misérables, they mounted a six-month marketing campaign that, while not at all out of the ordinary in the 21st century, was remarkably cutting-edge for its time. The book was originally sold in instalments; the first, titled Fantine was released simultane- ously in a myriad of cities world- wide, much like a modern day blockbuster film debut. While the critics’ reactions were mixed, the public’s response was overwhelm- ingly positive: the book sold out within hours of its initial release. Even the French government, which had exiled Hugo himself, made a point of addressing many of the issues raised in the book in order to anticipate the demands of Les Mis-mad public. The decades-spanning plot of Les Misérables concerns the im- prisonment and redemption of Jean Valjean, how he raises Co- sette, the daughter of Fantine, as his own child, and how he is pur- sued by the relentless Inspector Javert. Much of this is set against a background of social upheaval in France. Many of the major char- acters represent a problem facing French society at the time: Jean Valjean represents the degradation of the working-class man, Fantine represents the subjugation of im- poverished women, and Cosette represents the fate of innocents born to dire circumstances. How- ever, unlike other novels that use characters as symbols, what makes Les Misérables’ central characters unique is that its symbolic char- acters are also round characters, capable of change over time. Not only does this make the characters more lifelike, it also gives the au- dience hope that social ills can be overcome in time. As Victor Hugo said himself: The book which the reader has before him at this moment is, from one end to the other, in its entirety and details ... a progress from evil to good, from injustice to justice, from falsehood to truth, from night to day, from appetite to conscience, from corruption to life, from hell to heaven, from nothing- ness to God. In the end, it is not merely the dramatisation of social ills in a particular place in time that make Les Misérables such a stalwart member of the literary canon: its portrayal of people with the ca- pacity to change for the better up- lifts the human spirit and gives the audience hope for a better future: that our society and ourselves are capable of positive change. Barnaby Davis Head of English Novel & Author Garry Whitehead
  • 6. 10 11 T he costume team researched French costumes from the early 19th Century and cre- ated a mood board with colour palettes for the main characters and individual groups of actors. The students learned how to cut fabric, hand-sew and use a sewing machine in order to make some of the simpler items seen on stage. Other items were sourced or tai- lored and then adapted for stage by adding embellishments, alter- ing or distressing to achieve an au- thentic look. Angela Piddington Costume Designer Costumes I t has taken weeks of research and practise to transform these healthy, good-looking students into the underfed, unwashed, sing- ing gutter feeders of Les Misérables - it indeed did require a bit of el- bow-grease. Aside from wishing to chop off everyone’s hair with garden shears, the hair and makeup team aimed to create fatigued eyes, grungy teeth, and chunky, textured make- up that completely transformed the look of some of the youthful JIS cast, transporting them to 19th century France, encapsulating the plight of many at that time… Kim Kruger Hair & Makeup Styling I n the Prop-Making CCA (Jun- ior School), we have been mak- ing props for Les Misérables. We have been painting rifles, mak- ing brooms and a chopping board to stab a knife into, collecting and cleaning metal cups and fake silver ware. We spent hours making our props good enough for the show. It was fun to do. We feel very proud when we see our props being used in the show. Christine Brumpton Props Designer Props Lighting I t is difficult to conjure up a pic- ture of Paris in my mind with- out immediately hearing the unmistakable sound of an accor- dion player. The corrugated bel- lows expanding and contracting are, for me, Paris breathing. Les Misérables is an epic story told on a grand scale and covering many years. However, it is also the sto- ry of a few individuals trying their best to live, to survive, to breathe. As the story switches between the personal and the epic, the lighting expands and contracts, from huge stage pictures that give the audi- ence a chance to fill their lungs full before the picture collapses and constricts down to reveal the indi- vidual plight of the people caught up in our story. Sam Findel-Hawkins Technical Director
  • 7. 12 13 Director’s Concept... T his performance is told from the perspective of the student revolu- tionaries. In the set, we see the idealised imagery of Paris, where we literally see the ideas of the revolu- tion projected. In the foreground of the set we see two contrasting build- ings: one that shows the rich and es- tablished authority of France and the other that represents the homes and work places of the underprivileged un- derclass. Characters that are key to the story are detailed and naturalistic with emblematic costuming used to identify those that represent the State (Javert in his Blue uniform) and those who represent the revolution (Gavroche and Enjolras with their banners and hair braids of red, white and blue). Garry Whitehead and I first met in June of 2014 to discuss the set for Les Mis. We discussed the premise of the story and es- tablished the numerous locations that we would need to include in the staging of the play. With this in mind, we picked loca- tions that would be fixed in the minds of the students that sur- vived the ‘Revolution’. The vast open plazas of Paris, juxtaposed against the claustrophobic proximity of the Barricade, allow the audience to see how the world of the ‘students’ shrank as the revolution came to a climax. As we see the whole story from the perspective of the students, we never see the far side of the barricade. We, as the audience, take the side of the students both figuratively and literally. The Costume Team (Angela Piddington, Julie Ayres and Tracey Purkis) and I all met in July of last year. We first talked about the general mood of the performance and the way costume could add to this atmosphere. We discussed the fact that, at the begin- ning of the play, the entire cast need to appear like they have been in a forced labour camp for years. This ‘feeling’ is shown through damaged and scuffed clothing that looks like it has been used. It was really important to me that costumes, in general, looked used and lived in. Monsieur and Madame Thenardier are both dressed in gaudy clothes that they have stolen from numerous past guests. Their costumes have been worn, they have blood stains on them and in short, they tell a story. Whilst watching the play I would like the audience to ‘read’ the characters’ and imagine what their lives were like before we see them on stage. The Props, where used, are as accurate as we could make them. The Muskets are exact replicas (in size and shape) of the smooth bore muskets used in the Revolution and the Mugs are a copy of a 17th Century design. Christine Brumpton (and her amazing, hardworking team of Year 2, 3 and 4’s) as well as the D&T de- partment have taken my requests for 30 Muskets and 35 Mugs in their stride and have still managed to find time to make Can- dle Sticks that can fly (wait for it!), other ‘precious sil- ver’ that has been expertly aged and other miscellaneous props. Again the props reflect that the story is told from the per- spective of the students. What they use and handle is as real as we can make it, whereas the silver that Valjean steals is what one might imagine silver to look like. The story is told from the idealised perspective of the stu- dents. Due to this the lighting is, at times, patriotic in na- ture and at others epic in scale and grandeur when transition takes place. Sunsets and sunrises are once again (for those that came to see Oliver!) a vehicle to demonstrate the passing of time and are used as a metaphor for life and death, birth and beginnings, revolutions and war. Sam Findel-Hawkins uses the neutral colour of the set as a ‘canvas’ on which he can ‘paint’ broad colour washes (to support songs and mood transi- tions) and project timed footage to show the thoughts of the Characters and to show action ‘off stage’. Music tells the story of Les Mis. As a through sung musical there are few spoken lines and because of this every performer must tell his or her story with every word. Revolution takes a group of people to agree to revolt. In Les Mis the ‘people’ are an- gry and we see this in group songs that are performed. It is in the solos; however, that the personal stories of the revolution are told. Garry Thin has expertly balanced the epic themes contained within the large choral numbers and spe- cific musical motifs that indicate to the audience that a char- acter is about to arrive. Javert’s motif is easily the most recognisable and it represents both him and the authority of the state. We, the audience, know he is the villain and the students also see him as such. The audience and students are aligned in perspective. Les Misérables is a story which asserts that love and compas- sion are the most important gifts one person can give another and that the most important goal in life should be to display these qualities. We are taken along on this journey with in- dividual characters and their stories where we eventually end with the story of the students and their eventual deaths. We see this through the eyes of the students and are convinced by their passion and energy that the revolution must succeed! We hope you enjoy the show! Will Kemp
  • 8. 14 15 Principals Valjean Fahad Shiraz Javert Aaron Klein Old Man / Chorus Robert Wood Fantine / Chorus Yasmin Riches Young Cosette / Chorus Sachi Dieker Madame Thénardier / Chorus Cristeen Park Thénardier/ Chorus Charles Duru Gavroche / Chorus Rafeeqa Teo Enjolras/ Chorus Eden Chiam Marius/ Convict Alex Stagg Eponine / Chorus Maya Roy Prabhakaran Cosette/ Chorus Florence Holmes Cast Multi-Roles Old Crone/ Factory Girl/ Feuilly/ Chorus Emily Carter Labourer/ Gang Member/ Student/ Chorus Nick Bourbon Farmer/ Gang Member/ Student/ Chorus Luke Conway Constable/ Pierre/ Chorus William Brien Comberferre/ Student/ Chorus Phoebe Ten Foreman/ Prisoner/ Student/ 2nd Monsieur/ Chorus Yen Yen Pek Grantaire/ Prisoner/ Chorus Louis Malik Joly/ Prisoner/ Chorus Esme Smith Courfeyrac/ Prisoner/ Chorus Evan Chiam Young Eponine/ Angry Girl/ Gang Member/ Chorus Rebecca Yahya Chorus Chorus Member Rebecca Sargent Student/ Chorus Cyleen Pabillore Student/ Chorus Batrisyia Junaidi Student/ Chorus Natalie Krebs Student/ Chorus Manikya Maxim Hat Wearer/ Chorus Ellie Briffa Student/ Chorus Nayumi Reduan 1st Monsieur/ Innocent Man/ Chorus Hau Chien Tang Captain soldier/ Constable/ Chorus Toby Harris Clarke of the Court/ Chorus Adi Sherchan Jury member/ Chorus Kate Edgeler Judge/ Chorus Holly Canton Court Usher/ Chorus Erna Maciulis Student/ Chorus Kassy Pacudan Student/ Chorus Kester Pacudan Student/ Chorus Kate Pacudan Fahad Shiraz Aaron Klein Robert Wood Yasmin Riches Sachi Dieker Cristeen Park Charles Duru Rafeeqa Teo Eden Chiam Alex Stagg Maya Roy Prabhakaran Florence Holmes
  • 9. 16 17 PROLOGUE: 1815, DIGNE Song #1 - Look Down Look down! Look down! You’ll always be a slave. Look down! Look down! You’re standing in your grave. We first meet Jean Valjean, the main character in Les Misèrables, as a prisoner, condemned for stealing a loaf of bread. After serving 19 years in the chain gang (Prisoner 24601, a man of im- mense physical strength), Valjean finds that the conditions for his release condemn him to weekly meetings with his parole officer. Escaping to find true freedom makes him now an outcast, hunted by the law, represented by police Inspector Javert. Only a wise Old Man treats him kindly and Valjean, embittered by years of hardship, repays him by stealing some silver. Valjean is caught and brought back by the police and is astonished when the Old Man lies to the police to save him. Val- jean decides to start his life anew. b b b Programme Notes 1823, MONTREUIL-SUR-MER Song #2 - At the End of the Day At the end of the day you’re another day older And that’s all you can say for the life of the poor It’s a struggle, it’s a war And there’s nothing that anyone’s giving One more day, standing about, what is it for? Eight years have passed and Valjean, having broken his parole and changed his name to Monsieur Madeleine, has become a factory owner and Mayor. One of his workers, Fantine, has a secret ille- gitimate child. When the other women discover this, they demand her dismissal. Desperate for money to pay for medicines for her daughter, Fantine sells her hair, and then utterly degraded, she is attacked by, then fights, a gang of men and is about to be taken to prison by In- spector Javert.Javert is a policeman who knew Valjean when he was a prisoner and has sworn to hunt him down ever since Valjean failed to meet the terms of his parole. However, in his new life as the Mayor, Javert has not yet recognised Prisoner 24601. ‘The Mayor’, Valjean, arrives as Javert is about to arrest Fantine, shows compassion and demands she be taken to hospital instead. The Mayor then rescues a man pinned beneath a large crate. Javert is reminded of the abnormal strength of Prisoner 24601, Jean Valjean. He still does not recognise Valjean, because the police have just arrested another man who they think is Valjean. Valjean, un- able to see an innocent man go to prison, confesses that he is Prisoner 24601. At the hospital, Valjean promises the dying Fantine to find and look after her daughter Cosette. Javert arrives to arrest him, but Valjean escapes. b b b 1823, MONTFERMEIL Song #8 - Master of the House Master of the house Quick to catch yer eye Never wants a passerby To pass him by Servant to the poor Butler to the great Comforter, philosopher, And lifelong mate! Cosette has been lodged with the Thénardiers, who treat her very badly while giving all the money for supporting her to their own daughter, Eponine. Valjean pays the Thénardiers to let him take Cosette away to Paris. b b b L es Misérables is a challeng- ing musical for the audience. The action ranges over sev- eral years. Characters age, and are played by other actors/actresses. The plot is complex, and the stage action presents to us what can seem as broken pieces of a much longer story. In fact, the original novel by Vic- tor Hugo is listed in some records as the 13th longest novel of all time (several of the top 15 are in French). It contains 655,478 words (I wonder if it is more, or fewer, when translated into English). The musical has to tell the story in only 2 hours. We will leave you to “do the Math!” You may like to follow the events using the Programme Notes be- low. They will keep you up-to-date with the events as they unfold, and give a little background to the main characters. We have included the locations and dates, and also the main mu- sical “songs”, using their original numbering. Between each song listed here are, of course, many numbered musical “fragments” since the whole play is sung. Dia- logues between characters, solilo- quies, all are sung, sometimes with musical echoes of themes from previous songs. We hope it helps. If you get lost, you are not alone. Sit back and en- joy the spectacle and song of one of the best-loved musicals of the modern world. Simon Carter Production Assistant ACT ONE
  • 10. 18 19 When the beating of your heart Echos the beating of the drums There is a life about to start When tomorrow comes! The students have built a barricade. Marius, noticing that Eponine has joined the insurrection, sends her away with a letter to Cosette, which is intercepted by Valjean. Eponine decides to rejoin her love at the barricade. Song #18 - One Day More One day to a new beginning Ev’ry man will be a king The barricade is built and the revolutionaries defy an army warning to give up or die. Javert is ex- posed as a police spy. In trying to return to the barricade, Eponine is killed. Valjean arrives at the barricade in search of Marius. He is given the chance to kill Javert but instead lets him go. The students settle down for a night on the barricade and, in the quiet of the night, Valjean prays to God to save Marius. The next day the rebels are all killed. Song #22 - The Night Drink with me To days gone by To the life that used to be Let the bond of friendship Never run dry Valjean escapes with the unconscious Marius, he then comes across Javert once more. He pleads for time to deliver the young man to hospital. Javert lets Valjean go and, his unbending principles of justice having been shattered by Valjean’s own mercy, he kills himself. Song #26 - Javert's Suicide Turning, turning, turning through the years Minutes into hours and the hours into years. Nothing changes, nothing ever can Round and round the roundabout and back where you began! Unaware of the identity of his rescuer, Marius recovers in Cosette’s care. Valjean confesses the truth of his past to Marius and insists he must go away. Marius realises it was Valjean who rescued him the night that the barricade fell. He and Cosette rush to visit Valjean, who is alone and dying in sadness. Here, Cosette learns for the first time of her own history and there is a final reconcilia- tion, after which, happy to be reunited with his adopted daughter, Valjean dies in peace. #30 Epilogue 1832, PARIS Song #10 - Look Down 2 (The Beggars' track) Look down, look down, and show some mercy if you can Look down, look down, upon your fellow man! Nine years later, there is unrest in the city because of the likely demise of the popular leader Gen- eral Lamarque, the only man left in the government who shows any feeling for the poor. The young idealistic student Marius is speaking alongside the inspiring protester, Enjolras, when he sees Co- sette and instantly falls in love. The Thénardiers’ daughter Eponine, who is secretly in love with the student Marius, reluctantly agrees to help him find Cosette. News of General Lamarque’s death circulates in the city and a group of politically-minded students stream out into the streets to whip up support for a revolu- tion. Song #13 - Red and Black Red - the blood of angry men! Black - the dark of ages past! Red - a world about to dawn! Black - the night that ends at last! Cosette is consumed by thoughts of Marius, with whom she has fallen in love. Eponine brings Marius to Cosette and then Valjean, convinced it was Javert lurking outside his house, tells Cosette they must prepare to flee the country. b b b Interval b b b Song #14 - Do You Hear the People Sing? Do you hear the people sing? Singing a song of angry men? It is the music of a people Who will not be slaves again! ACT TWO
  • 11. 20 21 Production Team Director / Producer Will Kemp b Musical Director Garry Thin b Choreographer Carolyn Moran b Designer Garry Whitehead b Assistant Director Henry Holmes b Assistant Director Anna Hogan b Assistant Producer Simon Carter Orchestra Musical Director & Vocal Coach Garry Thin b Keyboard 1 & Vocal Coach Marieta del Mar b Keyboard 2 Stefanie Chua b Keyboard 3 Hayley McReynolds b Keyboard, Bass Faith Klein b Clarinet, Saxophone Rachel Drew b Flute Nicole Sumich b Flute Shilah Husaimee b Trumpet 1 Paul Edgeler b Trumpet 2 Julian Smith b Trombone Richard Clarkson Horn Nick Smith b Drums Pg Sallehuddin Pg Mohd Noor b Guitar Darryl Luma-As b Percussion Jamie Sales Props Coordinator Christine Brumpton b Ruth Bourbon Francesca Dale Izzah Dar Tess Hann Merryn Hogan Yoshiki Kaneko Jordan Lo Drew Morel Bryanna Richards Gemma Saap Olivia Smith Amicie Vellaud Refreshments Coordinator Elly Green b Fatin Abusufian Izzati Ahan Wendy Aquino Mark Eastham Blade Eastham Elise Eastham Sabre Eastham Justin Harris Nabilah Ali Hassan Lina Kua A’Lya Nazmi Alissa Rudy Hazimah Sabirin Esther Wong b Coordinator Jeandre Henning The Borneo Project Photos Credits
  • 12. 22 23 Set Painters Coordinator Garry Whitehead b Fatin Amisah Abusufian Shaffena Affendy Tajima Algewattege Tope Ayodele Hana Ahmad Baihaki Tasneem Cader Andrea Chan Shiuh Lin Chan Anisha Chua Firah Fauzi Nabilah Ali Hassan Farah Amer Hishamuddin Nisa Karamina Hussin Daphne Ng Huda Omarali Grace Power Ameerah Shamsulniza Aiysha Shariful Arran Ahmad Ulab Ruth Wong Yew Qi Yap Hair and Makeup Coordinators Kim Kruger Ruth Bourbon b Assistants Mariam Abdullah Marinka Gnaden Lynne Hutchinson-Whitehead Karly Downey Sian Thacker Helena Jacobsen b Mahnoor Abbasi Aqilah Adinin Nisa Adzlan Rasyidah Ali Izzati Azhan Hafizah Azhar Azma Aziz Aleena Dar Adlina Dzulkiflee Ally Foley Molly Foley Dristi Gautam Natalie Hallot Haida Haslen Kara Hussin Ezza Majit Zali McPherson Aliza Nafees Cartoon Nakham Maryam Omar Asuka Osawa Najdah Rahman Syasya Rosdi Amin Badzlena Selamat Batrisya Selamat Kezom Sherpa Farah Sufri Joy Wong Hasanah Zainal Technical Team Technical Director Sam Findel-Hawkins b Arts Centre Staff Freda Chen Syarif Baharuddin Hadi Suphien Daus Mohd Salleh Milo Valentino b Tech Club Jeslynn Ong Rutaba Saiful Natalie Lim John Fung Wafid Sophian Vanessa Kwong Chan Zhi Goh Faiq Faizal Sirren Munawar Samuel Kong Amirrul Kasmirhan Mabel Foo Hisyam Abidin Credits Credits
  • 17. Tel: +673 2 411 000 Fax: +673 2 411 013 Email: office@jis.edu.bn http://www.jis.edu.bn Jerudong International School P O Box 1408 Bandar Seri Begawan, BS8672 Negara Brunei Darussalam