By Kate Hogan

On Thursday, October 23, Baxter Phillips (‘26), as Jean Valjean, stole a loaf of bread.

And with that, the curtain rose on Les Misérables, one of the most ambitious productions ever staged by Collegiate, with three performances on Oct. 23, 24, and 25. From the thunderous overture to the heart-wrenching finale, the musical transported audiences from Oates Theater to 19th-century France, a world of revolution and hope.

Based on Victor Hugo’s 1862 novel, Les Misérables premiered on Broadway in 1987 after its London debut two years prior. Written originally in French by Alain Boublil and Claude-Michel Schönberg, and later adapted into English by Herbert Kretzmer, the sung-through musical has become a global phenomenon, famous for its powerful score and heartbreaking story.

For those who didn’t see it, Les Misérables, directed by Upper School theater director Steve Perigard, tells the story of Jean Valjean, an ex-convict with a new life, despite being on the run for decades from Inspector Javert, played by Dylan Callaghan (‘26). In his new life as a town mayor and owner of a factory, Valjean agrees to take care of Cosette, played by Amy Wu (‘28), a young girl whose mother, Fantine (Ava Stevenson (‘27)), has fallen on hard times. As Cosette grows up, she falls in love with Marius (Carter Quigley (‘26)), a revolutionary. The story unfolds with a backdrop of social unrest in 19th-century France, culminating in the June Rebellion, where characters face love and loss. 

From the audience, we may have only seen the top of Director of the Arts Mike Boyd’s head down in the orchestra pit, but we certainly felt his presence. As the conductor, he was the unseen heartbeat of the show, guiding the musical ensemble through every note, cue, and crescendo with precision. 

Unlike the professional version seen on Broadway, Collegiate’s production was tailored for student performers. “It’s shorter,” Boyd explained. “Some songs are rearranged or combined, and the keys are adjusted for high school vocal ranges.” 

Even with these changes, the score’s emotional weight remained. “It’s the AP musical, as I tell people,” he joked. 

Years ago, Boyd and the Upper School theater faculty and staff agreed that they “probably will never do” the musical, at the time thinking it was “above the abilities and the time constraints” of a high school program. 

However, Boyd and Perigard chose Les Misérables this spring. With “the number of students that we currently have at this school who are exceptional at what they do, we thought we had enough to cover all the parts of the cast, and we sure did.” 

From Phillips’ soaring “Bring Him Home” to Stevenson’s heartbreaking “I Dreamed a Dream,” every performance was supported by Boyd and the pit orchestra. “Because Les Mis is a sung-through, the acting is the music,” Boyd shared. “We actually developed chemistry and timing as a whole ensemble in the pit,” he said, adding, “Every rehearsal on that last week we made exponential progress.”

This chemistry included every student in the pit, including Jeffrey Qureshi (‘26) on viola and Grace Boak (‘26) on the flute. Though they were hidden from the audience, they felt every emotion that was onstage. “Even though we can’t see the show, we experience it through the music,” Boak said. “We get to convey emotions to the audience without them even seeing us.”

For Quereshi, the music’s complexity made the process both challenging and exhilarating. “The ‘Sewers’ piece was immensely difficult,” he said, taking “determination and practice.” Mimicking rats in the sewers, “Sewers” gave “the performance at that moment a rushing and eerie feeling.”

Boak agreed with Quereshi that the fast-paced numbers tested their skills and focus. The hardest number for her? “Attack,” she said, “it was really challenging to sync perfectly with the singers, since the tempo changes so quickly.” 

Both students described how much trust between the orchestra and on-stage performers matters during performances. “It’s all about watching Mr. Boyd constantly,” said Boak. “You have to trust that the emotion will come through naturally once you’re confident in the timing and dynamics.”

Qureshi added, “With Les Mis being such an emotional piece, I found it most helpful to channel those feelings into the expression of the music.”

Of course, performing a nearly nonstop show required endurance. Plus “caffeine, and lots of it,” Qureshi said. Boak agreed, stating simply, “Celsius.”

Despite the long nights, the pit never lost its energy. “Throughout the entire performance, the pit remained playful, always energetic, and supportive. This sense of camaraderie helped us get through the long nights and hours of practice,” said Qureshi. 

Boyd’s leadership kept everyone in sync during these songs. “It’s my job to cue everybody and conduct,” he said, “I have to know the score.”

Boyd’s admiration for his students was clear as he recounted their performances. He praised Lance Waterbury’s (‘29) emotional portrayal of Gavroche, saying “He fed off the audience and got better every night,” and James Etherington’s (‘26) take on Thénardier. “Some people might choose to play that more as pure comic relief, but Thénardier is a dark, slimy character, and James did a great job of portraying that.” 

Gavroche and revolutionaries at the barricade.

It wasn’t just lead roles that Boyd commended; members of the ensemble also shone. Kyle Spicer (‘28) “sang really well,” as well as Hunt Brabrand (‘27). “It’s [Hunt’s] first production with us,” Boyd said, “and to have a new face and a new voice, and he did a really great job.” 

Maci Myers (‘26) “had to get a cue” from Boyd during “Lovely Ladies,” and “she never missed it.” Boyd said, “I can compliment so many.”

When asked what he hoped students took away from the experience, Boyd didn’t hesitate. “Artistic endeavors require an investment into them that is like no other endeavor they encounter.” Unlike in school, where students have grades, in a musical, “the feedback you get is an audience.” 

“It becomes your own intrinsic motivation, as to how well you want to perform,” Boyd said, “which means that your investment in every step of that is incredibly important.” However, it’s okay to fail on stage. “Sometimes those failures are mistakes that actually turn out with a better result,” he said.

There’s another hidden aspect to Les Misérables besides the orchestra: dance. While the musical isn’t known for being a “dance-heavy” show, choreographer and Upper School dance teacher Angie Muzzy managed to craft movement that made the story’s emotions come alive. 

“I actually don’t come in with a vision,” she explained. “If I do that, then I get really contained, because I have to work collaboratively with Mr. Perrigard.” Instead, she builds her choreography as the show takes shape, creating group moments that match Parigard’s blocking and the students’ abilities.

She shared that she was most proud of “Master of the House,” saying, “a part of me was like, How do I rein it in? It’s about subtlety, but also joy. Everyone had to dance in that, even if you weren’t a ‘dancer.’’’

Muzzy emphasized that her role is less about steps and more about storytelling. “I’m there to enhance the story,” she said. The choreography also carried a deeper meaning. Muzzy wanted the movement to reflect hardship: “Les Mis is about being poor and destitute–how are you going to survive? And is there still hope? How do I come up with gestures that don’t feel too pantomime?” 

The cast in “Master of the House.”

Finley Haas (‘26) and Myers’ favorite scenes to perform were the ones with dance. For Myers, it was “Lovely Ladies,” because “it had the most dancing, and it was fun to just play around with the guys—it was the most lively moment for us.” 

“‘Master of the House’ or the wedding scene were my favorites, because they have the most dancing,” Haas said, adding, “the most fun I have in the musical is dancing.”

Both ensemble members shared fond memories of rehearsal and times backstage. “Although we get yelled at by stage managers for it,” Myers laughed, she loved “dancing backstage or trying to get Hunt and Kyle to break character during battle scenes. And the snack table, I love that thing.” Haas recalled “watching from the wings on the last night with Aurora,” calling it a moment she’ll never forget.

As for keeping up with the show’s relentless energy? “I try to come to rehearsal every day with the most energy I can bring,” Haas said. “My goal is just to have as much fun as possible while staying productive.” Myers agreed, saying, “I am fortunate enough to have a space like this where I can leave my worries at the door—it makes it easy to focus on conveying emotion while keeping it upbeat for everyone backstage.”

Eponine and Marius at the barricade with Enjolras.

Quigley said his favorite moments came during “In My Life” into “A Heart Full of Love.” 

He not only “got to climb the trellis,” but also got to sing with Kyla Williams (‘26), who played the role of Eponine, and Wu. “It was hard musically, but interesting to perform—and really fun to work on.” 

Quigley found that his chemistry with his castmates grew naturally as rehearsals went on. “Trust makes everything easier,” he said. “Plus, it’s easier to perform those big emotions on show night, as opposed to rehearsal.” When asked what he admired most about the character Marius, Quigley shared that it was “his willingness to fight for what he believes in, while also caring about others.”

For Stevens, who played the tragic Fantine, preparing emotionally was a slow process. “I read the book and took time to get into my emotions. It wasn’t one big moment.”  Her favorite memories, however, weren’t all somber. “I loved the moments backstage during the barricade scene,” she said with a smile.

Fantine, Jean Valjean, and Eponine at the show’s finale.

Hollyn Borich (‘26), who played Madame Thénardier, especially loved the over-the-top nature of her role. Her favorite onstage moment came during the robbery scene: “We would be onstage wrapping a baguette to look like a baby. The comedic side scenes were always my favorite, because there’d be something serious going on, but if the audience looked at the Thénardiers, we’d always be doing something unserious.”

Playing a role with such a big personality taught her a lesson about acting. “You have to be very aware of your facial expressions and time,” she said. “Nothing should be simple–everything should be big and emphasized.” 

Etherington, her onstage husband, described his Thénardier as a “sleazeball innkeeper—bottom of the barrel.” He and the cast created detailed character sheets and had “in-depth discussions” with Perigard to map out each performance. 

“He starts off comedic, but with each song, he becomes more sinister,” Etherington explained. “It’s like a character loop. He comes full circle at the wedding.” 

His favorite part of the role? “Dancing on tables,” he said immediately. “I really got to do whatever I wanted.” The flexibility of Thénardier’s musical style also gave him freedom. “Instead of having precise timings, the pit plays a chord, and I get as much time as I want to say my line.” 

Collegiate’s Les Misérables was, in one word, electric. From the first booming note of the overture, the months of work and dedication from the cast were evident. Every lyric, look, and tear felt earned. Phillips gave a powerhouse performance as Valjean, balancing grit and mercy in a way that made the audience forget he’s still got homework due the next day.

The audience felt the impact just as strongly as those onstage. A.V. Musick (‘26), who watched the show with me, said, “As someone who had never seen Les Mis, I was very impressed by the production and the cast! I was able to follow the plot clearly, and I loved getting to see everyone act!”

Clara Totten (‘26), a long-time fan of the musical, said, “I’ve loved Les Mis ever since I saw the movie with Anne Hathaway. The Collegiate cast did not disappoint in bringing the musical to life, and I was amazed by how many talented classmates I have.”

From the first note to the last, the cast had us in the audience gasping, cheering, and maybe even crying a little bit.

“There is something special from every single [fall musical] that I could point out to you,” said Boyd. “And I hope that every person here at Collegiate, the time they spend here, gets to see that, I hope they also have that memory. So, for our audience members who come and attend, I hope that they feel a moment in the theater that’s that magical.”

All photo by Taylor Dabney.