Opening night at the Royal McPherson Playhouse marked the culmination of months of work for St. Michaels University School’s Senior School production of Les Misérables. Performed before a sold-out audience in one of Victoria’s premier theatres, the scale of the production reflected both the ambition of the musical and the commitment of the students who brought it to life.
With its soaring score and complex staging, Les Misérables demands far more than performance alone. At SMUS, students were not only onstage but running cues, managing scene changes, playing in the pit orchestra, balancing sound and guiding transitions in real time — responsibilities typically handled by a full technical crew.
Behind the Curtain
At the centre of the backstage coordination was Grade 12 stage manager Youlan Li, who called lighting, scenery and sound cues throughout the show. Supported by three assistant stage managers and no additional running crew, students managed their own scene changes, allowing the performance to unfold with steady continuity.
Director Morgan McLeod said that level of responsibility was intentional. From the outset, the production team established clear milestones and paced rehearsals carefully, building toward a production students could carry with assurance.
“With so many moving parts in a show like this,” he said, “watching them step into those responsibilities and carry them with confidence has been remarkable.”
The leadership extended well beyond the director’s chair. Vocal Director Christina Banman worked closely with students to build the stamina and precision required for a score that rarely rests, while choreographer Kelli McLeod shaped movement that had to remain powerful and sustainable across two demanding acts.
Bringing the Score to Life
In the pit, nearly twenty musicians navigated shifting tempos, layered harmonies and emotionally charged passages demanding both stamina and precision. Over months of rehearsal, what began as individual parts gradually became something unified.
“At the start, learning the music feels like assembling a big puzzle,” said Music Director Stel.la Guillén Fàbregas. “As we move into full run-throughs, that focus shifts toward musicality and flow. Little by little, the ensemble stops functioning as separate parts and becomes a unified group supporting the cast and bringing the story to life.”
For Guillén Fàbregas, the most striking transformation was not simply technical growth, but connection. “What really makes their performance special is their commitment to each other,” she said. “The hours of rehearsals, the shared nerves and the excitement when something finally clicks build trust and a genuine love for the music they’re creating.”
A Meaningful Milestone
This year’s musical also carried added significance for several members of the SMUS community.
McLeod directed alongside his wife, choreographer Kelli McLeod, while their son Ridley took on the demanding role of Jean Valjean in his final year at SMUS. McLeod said he approaches the rehearsal room as a director first, but watching Ridley inhabit such a complex and iconic role has been a source of pride.
The production also marked a first Senior School musical under Head of School Dr. Jeff Aitken and the final set constructed by long-time builder Peter Leggatt, whose craftsmanship has shaped school productions for two decades. Together, those moments framed this year’s musical not only as a performance, but as a point of transition.
Onstage, Les Misérables tells a story of endurance, conviction and hope. Offstage at SMUS, it became a lesson in preparation, collaboration and trust. Grand as it appears under the lights, this production came to life step by step through shared effort and commitment — an experience that will remain long after the curtain closes.
