(seen at the afternoon performance on 11th January 2025)
As an article in the programme says, reducing a huge classic novel to a single stage evening is hard. “Les Misérables” cuts not only the philosophy but also some character relationships – Gavroche is actually the Thénardiers son / Eponine’s brother, for example.
Dave Malloy goes further with “War and Peace,” taking just volume 2, book five - 70 pages – to create this show. Promising a plot so complicated that you are advised to read the programme notes first, it is actually fairly simple.
While her soldier fiancée is away, Natasha falls for a man who (unbeknown to her) is married. Her family and friends try to save her. The rest is subplot about how they meet, who disapproves of what, and how it is communicated.
For those unwilling to shell out a fiver, a rollicking opening number “Prologue” tells us that Andrey isn’t here, and introduces every other character in too-quick-to-really-absorb but hilarious fashion.
After that, it is a very Russian mixture of bed-hopping, letter-writing and simmering resentments and revenges. The score may not be instantly memorable, but Tim Sheader’s intelligent direction, Leslie Travers almost bare stage design (from the angle the monkey had, it thought Travers was advertising sofas) and Ellen Kane’s youthful choreography all make a lasting impact.
It is a top-notch cast too. Chumisa Dornford-May as Natasha is a vision in Evie Burney designed blue. Dornford-May finds herself troubled by her own actions, almost frightened of her own choices, making them feel less than absolute – which keeps our sympathies with her.
Being fair, Jamie Muscato as Anatole is irresistible (the stage door crowd after, attesting to that). Muscato takes his usual work to a new level here, playing every angle incorrigibly but with attractive levity to even his darkest manoeuvres.
The perfectly played Sonya (Maimuna Memon) may have her doubts, but she does see the point, we feel... unlike Godmother Marya (Annette McLaughlin) who is Lady Bracknell with a sex life, delightfully controlling.
Declan Bennett as wise Pierre is open yet intensely complicated. Bennett gets some of the strongest songs and delivers them with measured meaning, holding safely the entirety of this web together.
Notes too for Chloe Saracco as Mary, absent Andrey’s sister, worried for him and his relationship, and also Cat Simmons as Anatole’s minx sister Helene.
It is a peppy and flavoursome introduction to a great novel for those unfamiliar with it. Perhaps there is more exuberance to be had on a larger stage too, but in this intimate setting it is an undoubtedly impressive achievement on all levels.
