MYCO's production of Les Misérables was an impressive, captivating production from a supremely talented bunch of youngsters. That I came away reeling from the emotion and sadness of the story (I'd never seen Les Misérables before) was testament to the quality of the production and the talent in this band of 50 or so 12- to 18-year-olds.

The proximity of the audience to the small stage at The Theatre at Headington only increased the dramatic atmosphere and emotion of the play. This was especially true during the ensemble pieces, sometimes the full cast en masse in an audience-consuming triangular formation, not battling for attention but performing together with professionalism and maturity, to moving effect.

Watching such a talented group of young people perform in such intimate quarters is something to appreciate and enjoy while it lasts.

The leading cast performed with a polish that would impress if they were twice their age. The stand-out performer for me was Ruby Crepin-Glyne, haunting and unfaltering as Éponine. The company seem to make an effort to give almost all, if not all, cast members at least a line to themselves, which is rewarded with a varied array of voices which holds the audience's interest throughout.

MYCO are deserving of a bigger stage (all of this week's performances were sold out a week before the run began), but watching such a talented group of young people perform in such intimate quarters is something to appreciate and enjoy while it lasts.

Producing Les Misérables would be challenging even with a professional company. So MYCO's decision to perform the School Edition with a cast of 53 young actors between 12 and 18 years old might seem ambitious, but the resulting show is a triumph: a finessed and highly professional show that carried its audience through a wave of emotions and a story spanning twenty years.

A finessed and highly professional show that carried its audience through a wave of emotions and a story spanning twenty years.

Dramatic from the first few bars, the show opens on a chorus of prisoners serving time on the day when one of them, Jean Valjean, is released. He determines to carve out an honest life for himself, but cannot escape the past as his old prison guard Javert tracks him down, equally determined to bring him to justice. Arran Johnson as Jean Valjean gave a very believable and endearing performance; powerful and gentle at once with a strong moral compass. He won the audience's respect and affection easily. He also sung unfalteringly through the many octaves demanded of this part, quite a feat in itself. Chris Schweppe gave a stunning and unforgettable performance as Javert, Valjean's formidable rival, with strong consistent characterisation and an equally characterful voice. His singing was brilliant – he seemed really at ease all the time, sung to suit his character, was quick-tongued over quick-paced lyrics and tackled recitative confidently. As the play progressed, he triumphed in portraying the internal conflict Javert faces, constricted by his concrete beliefs and inescapably bound to his one life ambition of hunting down his enemy.

Anna Morgan's portrayal of Fantine was absolutely heartbreaking, a tragic heroine and a strong victim. Her emotive and versatile voice expressed both defiant strength and trembling vulnerability. The taunting, chilling ensembles “At the End of the Day" and “Lovely Ladies" were dramatically staged with really strong choruses that sent shivers down the spine.

One defining feature of this production was its excellent ensemble work. “Master of the House" was another rumbustious ensemble piece, with plenty going on onstage and lovely rowdy singing from the whole chorus, as suits a tavern! The Thénardiers were a fabulous double-act with delicious attitude and nerve. Johnny Allison as Thénardier, the pick-pocketing petty-crook landlord, made a quirky comic relief from the story's usual relentless pace, and was a master of movement and accent. His wife (Theodora Laird) was sassy and lippy and deliciously blunt.

Anna Morgan's portrayal of Fantine was absolutely heartbreaking, a tragic heroine and a strong victim.

Cosette's first appearance was as a child, played by Ellis Lovett whose sweet simple voice held echoes of her future self in its tones and melody, and in its optimism. Anya de Villiers, as the grown-up Cosette, had a bright sharp voice full of hope and trust, which hit each soaring note. Her duet with Marius was very beautiful. Jake Halsey Jones's youthful portrayal of Marius characterised him as a gentle, slightly naïve idealist, playing his emotions subtly. Eponine was played by Ruby Crepin-Glyne with real emotional honesty. Her voice (after she was saved from a microphone malfunction) was really rich – full of depth, longing and internal conflict.

The revolution was amazing to watch, featuring more excellent and rousing chorus work. Performed with conviction by Shakur Gabbidon-Williams, Enjolras' rallying cries stirred the blood and inspired courage in everyone present. Twelve year old Dan North played the young but determined Gavroche with attitude, and won over every heart. During the second act, the play became more intensely atmospheric with stark lighting, smoke, gunshots and a barricade that stretched the length of the stage. Clever design of the space also allowed for other similarly amazing transformations, with the unusual triangular shape of the stage inspiring atypical, striking blocking and choreography, especially during ensemble work. The revolving stage also helped to represent the passing of time and the characters' movement through space.

Despite a few first-night technical glitches, this show is a real success that promises only to improve further as the week progresses. With powerful music, strong principals and some outstanding chorus work, it well-deserves last night's standing ovation and its sell-out ticket sales.