Footlights Youth Theatre 
Berry Theatre, Hedge End
Bethany Sivewright 
05 March 2026
I can’t think of a better way to celebrate World Book Day than by enjoying a performance of the wonderful musical adaptation of Victor Hugo’s classic novel, Les Miserables. As a long-time fan of the musical and a previous member of a youth theatre group myself, I was particularly excited to be treated to Footlights Youth Theatre’s production of the specially adapted School Edition of the show. I have seen many professional productions of Les Mis over the years, and this cast and crew, directed by Paul Munday, have done the show justice in spectacular fashion, bringing a much-loved musical to the stage with energy, enthusiasm and raw emotion that any professional cast would be proud of.
Les Miserables follows the life of Jean Valjean, a convict and a good man in early 19th century France who breaks parole and starts anew but is never far from the shadows of his past, namely in the form of Police Constable Javert who refuses to let his trail go cold. The story deals with themes of poverty, justice, love, death, morality and political turmoil; quite a feat for such a young cast to tackle! Added to this, the musical is sung throughout and is particularly demanding with tricky rhythms, complicated sung dialogue and requiring a wide vocal range from many of its performers. It is evident that the entire cast of Footlights Youth Theatre, supported by a dedicated group of FYT adults, have worked their socks off to bring this show to the stage and their hard work has certainly paid off. I was fully transported into the world of Les Mis and moved close to tears more than once by the honest emotion on display from the talented young performers.
Leading the cast excellently is Rafferty Coope as Valjean. Rafferty is engaging from the off and carries the story with animation and maturity, displaying not only his impressive vocal range but also his vast emotional range. A highlight of course is his moving performance of Bring Him Home. Sam Fitzsimmons makes a formidable foe as Javert, bringing a real gravity to the role. Sam has a wonderful way of conveying the emotions of his character with very limited movement, particularly in his stunning performance of Stars, which contrasts well with Rafferty’s more frenetic energy as Valjean. The cast display a maturity beyond their years in telling this powerful tale; further stand-out moments come from Vicky Willingham delivering a heart wrenching performance as Fantine, and Tyrese Adams with Marius’s raw ode to his fallen friends in Empty Chairs at Empty Tables. Florence Reid, as Eponine, gives a powerful performance of On My Own, while Fin Otto is an inspiring Enjolras leading his fellow students to uprising.
Bringing some light relief are Harry Evans and Abi Burfield as Monsieur and Madame Thenardier. They make an excellent duo with great comic timing and many amusing looks exchanged with each other and the audience; Abi’s characterisation is particularly impressive. Georgia Hedges also brings some lighter moments as the sweet Cosette, playing the role with gentle grace and a beautiful voice. William Upfold is cheeky and brave as Gavroche, while Emily Upfold is a delightful Young Cosette; both hold their own well as the youngest lead performers.
Between the many impressive solo moments are wonderful chorus numbers. It is a joy to see so many young performers on stage, and clever use of staging to add height means that the large chorus truly does fill the stage. Each member of the chorus gives a dynamic and enthusiastic performance, with choreography from Lyndsay Smith helping to bring the ensemble scenes to life in a powerful way. Master of the House is a definite highlight, bringing the whole stage to life with something going on in every corner, as is the moving and iconic One Day More which really shows off the strength of voice of the full ensemble. The staging is impressive, with a large construction that cleverly transforms into the famous barricade. Creative lighting effects and additional elements of set throughout work well to create varying scenes without needing to change much of the larger sections of the staging. Costumes are fantastic, completing the visual transformation to France in the early 1800s. Mention must also go to the wonderful live band, led by Musical Director Ben Lister, who perform the complex score faultlessly.
The show received a very well-deserved standing ovation during the bows; I too absolutely loved this production of Les Miserables and feel privileged to have seen so much young talent on display. It runs until Saturday 7th March, including a Saturday matinee. There are limited tickets still available so snap yours up soon – you are in for a real treat!
