From the barricades to Blenheim
Local Director Peter Meikle will ‘lead the barricade’ when he directs Blenheim Musical Theatre’s Production of Les Misérables in 2022. Joining the production team will be Linda Holdaway, as Musical Director and Liana Bell who will stage the Choreography. Peter talks to Chris Valli about the show and his plans.
You could say that Peter Meikle has a dream.
Local Director Peter Meikle will ‘lead the barricade’ when he directs Blenheim Musical Theatre’s Production of Les Misérables in 2022.
Joining the production team will be Linda Holdaway, as Musical Director and Liana Bell who will stage the Choreography.
Peter’s introduction to all thing’s theatrical began in the North Island while at school.
“I started directing in 1962 – a one act play for Hamilton Playbox when I was at school and fell in love with the experience.
There is a certain elegance in that in 2022 – 60 years later – I get to celebrate this milestone with the opportunity to direct one of the great theatre icons of the 20th / 21st century.”
Peter’s Performing Arts resume is indeed comprehensive. The New Zealand native comes with a decorated list of transferable theatre skills.
“I studied speech, drama, music and opera over the decades and have directed over 155 productions across all mediums throughout New Zealand, Australia, UK, USA and in France and feel that I have the tools to bring a depth of experience and life skills to this extraordinary piece of theatre”.
Last staged in Blenheim in 1995, Les Misérables is set against the backdrop of 19th-century France.
Les Misérables tells an enthralling story of adversity, broken dreams, unrequited love, passion, sacrifice and redemption – a timeless testament to the survival of the human spirit. This epic and uplifting story has become one of the most celebrated musicals in theatrical history.
Featuring one of the greatest scores of all time played live by a 14-piece orchestra, this brand new reimagined and completely restaged production features all the beloved songs including I Dreamed A Dream, On My Own, Stars, Bring Him Home, One Day More, Do You Hear the People Sing, and many more!
Peter’s take on the story is primarily about two men’s journey towards redemption.
Set during the post Napoleonic era following the French revolution it reflects the breakdown and struggle of social order in a nation torn apart from lingering conflict. Following the dual stories of Javert and Valjean who’s journeys diverge and travel on the same trajectory they both finally achieve a level of peace that ends in death. The show dramatizes the heroes’ relentless pursuit by conscience, through their instinctive awareness and meaning of God and the importance of the Church and the belief in the goodness of man and mankind.
So how did the opportunity come about to take on one of the more challenging directorial roles with Blenheim Musical Theatre?
“BMT had originally scheduled ‘Les Misérables’ for production this year (2021) but this was postponed as a result of the pandemic. However the production was available through the Consortium in 2022 so it was decided to go ahead with the production.
At that stage the (BMT) Executive called for expressions of interest for a Director earlier this year and I decided that it was a ‘now or never moment’. I applied and following a rigorous interview and presentation process I was lucky enough to be the final name on the table and was offered the opportunity that must be every theatre practitioner's dream had come true.”
The logistics of the show give depth and clarity for all involved in what will be one of the biggest shows that the greater Marlborough community will possibly witness. Or as Peter describes “a visual spectacle”.
“The set, costumes and properties for this reimagined production are based very much on the London production. They arrive in Blenheim in 3 x 40’ containers. Central to the entire set is a nine metre revolving stage that sits into a 235 mm high false floor operated by a hand winch mechanism that is similar to a racing yacht grinder system.
Twelve pieces of the set are flown from the flies and a number of large pieces of scenery move on the revolve by a set of railway styled tracks. The wardrobe takes up half a container and is ready made in two sizes for the cast. Over 350 costume pieces are included. Lighting is basically set on four towers designed into the set and operate at 9.2 metres off the stage floor.
The design also includes a total of 5 follow spots. The revolve is also lit from underneath the floor level and includes haze and fog machines. The Paris Bridge is a total of 480 kg. Everything about this production is on the large scale – a visual spectacle that reflects the grandeur of a major London production transported to Blenheim.”
Indeed, the statistics around Les Misérables longevity speaks for themselves and are quite extraordinary;
● Staged in 42 countries
● Translated in 22 different languages
● In 2009 -staged in the Channel Islands - the original birthplace of Les Misérables writer Victor Hugo.
The longevity of the show is not lost on Peter who draws the reader into the historical context of the musical through the French perspective and context.
“It’s important to go back to the beginning of the musical story - Peter Farago, brought Cameron Macintosh the original French concept album of Les Misérables.
He said that anyone who was mad enough to have turned TS Eliot's cat poems into a musical would surely take on the challenge. He wanted to direct any production himself; I said I'd refuse to listen to it unless I could choose the director myself. A week later, I listened to it alone and, even though I don't speak good French, knew it would be right up Trevor Nunn's street. Nunn agreed, but only if he could do it with the Royal Shakespeare Company and co-direct with John Caird.
Peter feels that the original concept lacked tension.
“It began at the factory gates and ended at the barricades, and most of act two concentrated on the love between Cosette and Marius.”
Peter’s homework on the show has led to greater depth, analysis and ultimately understanding.
“Macintosh tracked down the French creators, Alain Boublil and Claude-Michel Schönberg in Paris. They were surprised I wanted to collaborate with them, rather than taking the rights and reinventing it. Boublil told me that it was while watching the Artful Dodger in the 1978 production of Oliver that the character of the street urchin Gavroche had come into his head; all the other characters then fell into place.
Jonathan Miller had just staged an extraordinary version of Verdi's Rigoletto at the London Coliseum, transplanting the action to the mafia world of Lower Manhattan. It caused a sensation and drew in audiences who had never been to an opera house before. l asked the librettist, (person who writes the text of an opera) James Fenton, then drama critic of the Sunday Times, if he would be interested in writing the lyrics.
He was just off on a three-month trip with his friend, the travel writer Redmond O'Hanlon, seeking headhunters in Borneo; Les Misérables must be the first musical begun in a canoe surrounded by crocodiles. Every time he finished a chapter of [Victor] Hugo's novel, he'd throw it to the crocs to save lugging it through the jungle.”
From a BMT perspective, the show was last staged in Blenheim in 1995. Peter is reflective in what that means for those new to the show and what it might entail.
“There is a whole new generation of people who will discover the power and the magic of the show. The best outcome for BMT would be a season of full houses that enjoy and respond to the show in a positive and proactive way.
Staging a major show in the ASB Theatre with it’s prestige and facilities. It has always been recognised as a performers show – so it will allow a whole new generation of singers and actors the opportunity to be part of this theatrical phenomenon – to grow artistically and musically and to be able to include ‘Les Misérables’ in the theatre CV.
Of course every successful show - and there have been many over the 100 years for Blenheim Musical theatre - requires a dedicated, hardworking team. A team in every sense of the word to bring the story, the stagecraft, the technical to fruition. The numbers are instrumental for the Blenheim community to ‘hear the people sing.’
“Onstage we are looking for a Company of over 45 singers which includes the leads and the ensemble, explains Peter.
“There will be a production team of nearly 40 backstage crew ranging from stage managers, lighting technicians, fly operators, sound, properties, wardrobe, wigs , security, front of house and ancillary support staff and as well as working with a live orchestra in the pit, another 15, 16 people.
So in total – over 100 personnel in all – working with the common objective of an outstanding production.”
Phew! A team effort indeed!
In the upcoming weeks there will be an information evening (on September 27, 7:30pm at 81A Lakings Road) followed by a weekend workshop on the weekend of October 1 – 3 before auditions commence (October 9).
The purpose behind these according to Peter is to prepare the potential Company for the stamina and emotional journey that will be demanded of them.
Peter is clear on the creative impact the ensemble or company will bring to the show.
“The Company is at the heart of this production – whether representing starving people of Paris, co-workers in the factory, people on the Streets of the Barricade, Carousers at the Pub, Guests at a Wedding, Loyal Patriots. Protesters, Courtroom spectators - the ensemble work extremely hard in this production.
They are part of the developing story and part of the ultimate outcomes of the story. Their singing is pivotal to the power of the music and their harmonies are part of this extraordinary tapestry that unfolds throughout the production.
Every ensemble member involved must create a complete story for each person they perform and have the skill and talent to constantly change character to reflect the story line with credibility and authenticity. They represent a richness and depth to the complexities that take place onstage and enrich the overall impact of the production for the audience. They have to be able to resonate with the audience in order that the power of the story connects with the audience.”
The primary objective is to introduce the Company in a safe and friendly, non-judgemental environment.
“Given the complex stories and action within the show it is really important that the Company are ‘match fit’. Each session starts with vocal warm up exercises. It offers an introduction to Les Misérables, meeting the creative team, and what they do.
“They are designed to develop team work within the group of actors, encourage story telling skills and interpretation ability when working with teams and ensembles, working in an Opera environment, looking at the inner action of characterisation, develop self confidence within performance and prepare the auditionees for the process of auditions.”
Peter says the workshop process is about the individual taking ownership and what their responsibility is in a production the size and scale of ‘Les Misérables’ through building up performance stamina and culminates with a number of groups presenting their selected stories for presentation.
Peter is excited about the October auditions and is adamant ‘the best possible company that we can muster in Marlborough’ will provide a window which reflects the immense depth of talent in the region.
“Many people choose very carefully which show they will audition for. ‘Les Misérables’ is one of those shows that really excites performers. It is partially because this is a musical that is totally sung – as in Opera. No spoken dialogue (apart from 4 lines at various points) so it really challenges the singer to be at their peak throughout the performance.”
So how would Peter Meikle sum up Les Miserables?
“A glorious celebration of great musical theatre tradition offering opportunity and satisfaction to everyone involved with this Blenheim Musical Theatre Production and sharing the best in entertainment with our community.”
Les Miserable will be performed at the ASB Theatre from Wednesday, May 18 - May 28, 2022. Auditions will be held from October 9.
Any queries to the Production Manager, Mike Wentworth @ [email protected]
Footnote: Audition packs will be available to be downloaded from the BMT website from Thursday September 2. This includes character information, audition songs and times, the online registration process and all relevant background information.