Sullivan Society's October staging of `Les Miserables', Royal National Theatre director Emily Gray said she was impressed with what she had seen, so far, of local talent. "This is a musical which, above all, is about the people, about character -- which needs good ensemble work and a strong community spirit, and I have felt those qualities in the short time I've been here. There's a sense of great friendliness and support.'' The 28-year old director, chosen to direct the Bermuda production by fellow National Theatre musical director Mark Dorrell (he takes on the musical side), has spent a week here with Mr. Dorell, auditioning some of the children who will appear in the musical, as well as holding their first design meetings.

It was through Mr. Dorrell's influence that G&S has been able to obtain, for Bermuda, the first amateur performing rights of the smash-hit musical outside Europe or North America. A frequent visitor to the Island through his friendship with musician Kate Ross, he had seen enough of G&S's work to convince him that the Society could handle `Les Miserables': his assurance to that effect resulted in legendary producer Sir Cameron Mackintosh (`Cats', `Phantom of the Opera' etc.) granting permission for Bermuda to go ahead.

On his visit here in February, Mr. Dorrell and G&S producer Marjorie Stanton held successful auditions. Bermudian Ron Campbell returns home from a professional career in the US to play the lead role of Jean Valjean, with other leading roles being taken by Stephanie Butler, Karen Musson, Cyanne Thomas, Rhona Vallander, Richard Fell, Wayne Holt, Paul Woolgar, Philip Barnett, and Peter Nash.

"We are really trying to `re-invent' the show for Bermuda -- there's no point in trying to come up with exactly the same production that was seen in London or on Broadway. We obviously have to adapt a rather large musical for a smaller stage. Having said that,'' she added with a laugh, "this is still the biggest company I have ever worked with! We have 41 at the moment, which is quite a lot! We chose more children than we'd originally planned, because they were so good.'' The daughter of a professional dance and drama teacher, Ms Gray revealed that after attending Cambridge, she studied at the Central School of Drama. "I thought I was going to be an actress but at university, I realised I was stronger as a director. I still do a bit of acting, at least one thing a year.'' In a profession notorious for the amount of time that even the most talented spend `resting', Emily Gray has never been unemployed since she left the Central School. Her first job was to help Mark Dorrell stage `The Sound of Music' for the West Yorkshire Playhouse. "Then Mark and I created a show together, `Colour and Light -- A Sondheim Celebration'.'' It was so successful that it was accepted by the Royal National Theatre. "We haven't worked together since then, so the chance to reunite, to do `Les Mis' seemed to be perfect!'' Maintaining that luck had played a big part in her career so far, Ms Gray believes her versatility has also proved to be a huge advantage. "I also work as a movement director, and as a choreographer -- I have danced all my life.

I've already met Barbara Frith (choreographer for `les Mis') and I think she's fantastic -- we share the language of dance!'' Through the education department of the Royal National Theatre, Ms Gray has also spent time working in India, helping young women in Bangalore with cultural identity and communication skills, and also assisting at their drama school. "In fact, I just did an Indian story-telling show for the Nottingham Playhouse.'' Noting that `Les Mis' is not a particularly "glamorous'' show, the young director said their first design meeting indicated that the production would be as simple as possible. "We can do a lot with lighting -- and bodies! I think everything is going to be very organic -- about the people, about the land. It's a very powerful piece in terms of the survival of the human spirit.

I think we've already got quite a lot done.'' Paying tribute to the organisational skills of Marjorie Stanton, she said, "She also seems to have a lot of fun with it, and I'm all for that, as I think you do your best when you are relaxed.'' Mr. Dorrell, conceding that it will be "a challenge'' to mount the musical with less resources and space than would normally be the case, said "Emily is the sort of person who thrives on these kinds of problems. We know we work well together, we have similar opinions about how to use voices and, basically, we have similar production views, so we're really looking forward to working in Bermuda. We return in August -- for the duration!'' He was too modest, perhaps, to add that before his return, he will be busy as the musical director for a new production of `Oklahoma' -- also to be staged at London's National Theatre.