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Thoughts about Les Mis Châtelet, in no particular order. Pic dump included.

Things I loved:

- The production design and staging were absolutely breathtaking. Even though it was minimalistic set, they really did some phenomenal job with the projections, lighting, and clever juxtaposition. It really felt you missed nothing from the more elaborate set at all. The official pics really don’t do it justice. You just have to see it in person.

- Eponine was one of the best I’ve seen. I also enjoyed the Thénardiers.

- The costumes were so well-thought out! Apparently there were more than 220 costumes created for 40 characters. Being a Javert girlie (gender neutral), my absolute favourite was Javert. He nailed this look (even with the hands behind his back thing!)

- Javert joined the finale! He even approached Valjean and gave him a handshake.

- Stars was beautiful and magical especially the staging effects. Javert walked up one of the raised sets that was made to look like a balcony. As the song progressed, the lights dimmed, plunging him into darkness, while projections in front and behind him began to glitter. It was a dazzling sight, as though he was floating in space, among the stars. I would want to watch the show again just for that.

Things I didn’t like/on the fence about:

- I’m not too invested in any of the singers, even though on a technical level they were amazing. But apart from Éponine, I wasn’t really feeling as emotional as I expected to from a Les Mis production. To be fair, I was also distracted because my seat had a huge column that blocked a fair part of my line of sight.

- The choice to have both Javert and Valjean be bald…..they frankly looked like twins up there on the stage. Not sure if I like it. I appreciate the whole idea of them being two sides of the same coin, both representing Vidocq, etc…..still. Kinda took me out of it especially in the Confrontation.

- Another side effect of the baldness: it makes Valjean looking approximately the same age throughout the whole story, and it took real strength of willpower to believe this virile looking man was on his deathbed at the end. Also makes Bring Him Home less poignant as well. (ps this was called Comme Un Homme/Like A Man in the French, which I have a lot of thoughts about but…well, it’s the original lyrics so I’ll refrain from commenting)

Then, again, as a Valvert girlie (gender neutral) I just have a very high expectation out of the portrayals of these characters. I do appreciate and like a lot of what they achieved, however!

Fun fact the woman next to me was crying throughout the show, so maybe I would’ve felt more emotional if I was French 😆

Here are a few behind the scenes pictures.

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how was the show yesterday! Did you see anything from the cheap seat?

Les Misérables at Le Théâtre du Châtelet was great! And yeah, I could see pretty much the whole stage (when I was leaning up against the railing) so I was happy with it! I'd only seen the musical once and it was over ten years ago, so I really loved getting to see this version. A couple of things I really enjoyed, in no particular order:

-Fantine was played by a replacement cast member that day, Myriana Hatchi. I haven't seen the show with the regular Fantine, Claire Pérot, but I absolutely loved Myriana's performance. She was the real highlight of the show for me. I believe she normally plays one of the nuns, but her interpretation of Fantine was so emotional and well performed. Her Fantine was heartbreakingly believable. At times I take issue with some Fantine's performances in the musical, but she brought so much spirit and personality to the role. I hope she gets the chance to play the role more often. No diss at all to Claire Pérot--again, I haven't seen her in the role, and I'm sure she is amazing as well! But I was pleasantly surprised to see Myriana's interpretation.

-More nuns: when Valjean is in the hospital hiding from Javert in act I, one of the nuns takes Javert's rifle and hides it in a patient's bed, while she's still lying in it. A funny little staging decision that I loved. Very Sister Simplice-y.

-Assorted amis: Grantaire (played by Ryan Malcolm) was a refreshingly suave, stylish, yet undeniably Grantaire-y Grantaire. I loved him in the part. Fashionable Grantaire representation. Enjolras (Stanley Kassa) was also a brilliantly convincing Enjolras--inspiring, beautiful, makes you want to sacrifice your life for a just cause .

-On a related note, Grantaire, Enjolras, and Gavroche: Enjolras picks Gavroche up on his shoulders, carries him, and then passes him off to Grantaire, who carries him on his shoulders. Gavroche has two gay dads.

-THEN, when Gavroche is shot, Grantaire mourns for him so emotionally. Everyone knows to let Grantaire hold his body, and he won't let anyone else touch him. Enjolras takes his hat. He lies next to his corpse for much of the latter half of the barricade, which I thought was a great call-back to the brick (where Grantaire is asleep for much of it) and yet much more sympathetic to his character.

-Among les amis was a waiter from the Musain, who (from what I could interpret) begins the work as a waiter who is friendly with les amis, and then becomes engaged in the cause. I thought it was a lovely decision to show the engagement of the people. We see him and his wife/lover (?) throughout, who is also there at the barricades, and when Enjolras sends the women and children home, the wife is the one to convince him to stay. I was thoroughly charmed. Don't know who played either of them, would love to find out.

-At Cosette and Marius's wedding, the actors who play the wedding guests are the same ones who play les amis, including the parts of Enjolras and Grantaire. Obviously the characters themselves do not attend (being dead) but the fact that they are so recognizable made me feel all warm and fuzzy inside. It's like what should have been, if everything hadn't gone wrong. We see the waiter and his wife dancing together as well.

-Javert (Sébastien Duchange) played his role very, very well. I like a Javert that's got a bit of mean dog in him, and this Javert was very believable as a frightening, dangerous figure, who also delivered on the more reflective moments, like in "Sous les étoiles."

Anyways, that is only a short list, but those are the the things that stood out to me the most, and that I can think of off the top of my head. Very strong performances all around, and great staging! If anyone has any other questions, I'd be happy to answer them! (Or if anyone has seen it and wants to scream about it a bit with me lmao)

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went Getty image hunting! here are some more high quality photos :)

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This is now a 2024 Théâtre du Chatelet Montparnasse stan account btw (pics by @/thomasamouroux on insta)

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OK A BREAKDOWN OF LES MISERABLES IN FRANCE

- they changed a lot of the lyrics (including my fav/funniest lyrics unfortunately) which was pretty interesting ; honestly i think it's a great thing bc it was last re-written in 1991 and they made the songs more textual, more like real talking and i think way more accessible for a lot of people (bc in france we have this habit of writing pretty words, with a lot of images and lyrical phrases but it's not always helping to understand the plot yknow)

- the new lyrics for do you hear the people sing/à la volonté du peuple are SO GOOD ! originally it says :

à la volonté du peuple/et à la santé du progrès/rempli ton cœur d'un vin rebelle/et à demain ami fidèle

(to the will of the people/and cheers to progress/fill your heart with a rebel wine/and see you tomorrow, faithful friend)

and now it's:

à la volonté du peuple/qui crie les mots de sa colère/le chant de ceux qui ne veulent plus/être les damnés de la terre

à la volonté du peuple/dont on étouffe jamais la voix/et dont le chant renaît toujours/et dont le chant renait déjà

(to the will of the people/screaming the words of its anger/the song of those who don't want to be/the damned on earth anymore

to the will of the people/which you can never choke the voice/and whose song always revive/and whose song's revive already)

and idk i think it's pretty freaking cool; but i'll do a big breakdown of the new lyrics of do you hear the people sing bc it's the song they changed the most and i think it's way better for our times and more hopeful and giving the will to fight

- the stage: honestly real cool and clever! it's a smaller stage, way smaller than the west end one if my memories are not mistaken, and we obvisouly don't have the rotating stage; but they played a lot with moving structures and transparent curtains to make special effect like buildings, rain, etc... and it's way real cool !

- idk who the sound guy was but props to him cause the sound was SO GOOD like it sounded so clean and like listening to an album, truly perfect on this aspect

- the actors were GREAT, you could see they rlly took the roles and made them their own (i think enjolras' actor loves his role bc ive seen some of his tiktok and he looks like he loves it a lot so that's cool af)

- also i bough this

which is a conversation with boublil and schonberg retracing the story of the musical so yay

Anyway i'll do another big post to tell y'all act by act what was happening !

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Cunty Monty crumbs

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Interview of Jacques Preiss (Marius) and Juliette Artigala (Cosette) for France 24 English. You can see footage of the show at the beginning (Le Grand Jour), middle (Le Cœur Au Bonheur) and end (À La Volonté Du Peuple).

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I saw the Theatre Du Châtelet production of Les Miserables, and here's a rundown wyth my thoughts:

In the Prologue, the first set of prisoners are on a boat, then a second group is brought in to help move it. I loved this direction, as we see the physical feats they are forced to do. Valjean is brought on separately to these groups. Guards also beat the men, conveying the aggression of this environment which impacts Valjean’s character.

Part of the set is a ramp up stage left, which gets used a lot. During the Runaway Cart scene, we actually see the cart go down the hill and fall on Fauchelevent and the actor really milks it, it's brilliant. The set has these two huge curved pieces, which are used to create multiple settings, plus box sets which helps separate different locations.

Claire Perot is a perfect Fantine, we understand her immediately. She is watched by all the men in the factory, which she's aware of but hasn't grown hardened as a protection. She's so vulnerable and clearly uncomfortable with the attention. I really enjoyed the 'J'avais Reve' ('I Dreamed a Dream') lyrics, and Perot's delivery of the line about Cosette being close to dying was PERFECTLY delivered. She stopped to take the moment, and it was the best I've ever seen it done. My favourite Fantine, maybe even including the film adaptations I've seen.

The pimp comes on with Bamatabois and has the lines with the sex worker that in the English version says 'only joking, deary knows her place'. When Javert arrests Fantine, the other sex workers start towards her but stop, clearly on her side but unable to stand up to Javert. This asserts the dynamic between these men, who always have more power in the situation, and the powerless women.

Champmathieu and two guards walk in from of Valjean during 'Le Proces' ('Who Am I'), so he sees whose life his decision will impact. It's a shame the actors look nothing alike, I feel like they could've given the actor portraying Champmathieu a beard 😂

I preferred the 'Une Poupee Dans la Vitrine' lyrics to 'Castle on a Cloud' lyrics, they're so much more specific to her experience as she dreams of playing with the doll Catherine. love that she sings about Catherine. I wish that the Catherine that Valjean gives her was bigger, though, it more resembles the size of a doll you would buy today instead of the large doll of the novel. Her broom is literally twice her size though, it's a perfect staying to reflect the famous artwork of Cosette sweeping.

The Sergeant of Waterloo Inn is a box set which covers half the width of the stage so you can see the snow outside behind this set piece, which really makes it seem that the inn is bursting with people. This really highlights how far the Thenardiers fall. We see Cosette and Valjean meet in the space away from the set, which is cold and isolated.

These Thenardiers feel genuinely dangerous; they're funny but there's less playing up to the audience. They dress similarly to the rest of the cast, but there's always something out of place. For example, in Maitre Thenardier (Master of the House), Thenardier's outfit is identical to an ensemble member's, but then his hair is unusually styled compared to the rest of the casts'. During the wedding, everyone wears black and white (white dresses and black suits), whilst the Thenardiers arrive in black and white striped outfits. It's like they try to fit in, but they're always off. I also enjoyed that the Patron Minette are in Maitre Thenardier, backing up Thenardier as he over charges someone (his wife has a go at him in a nice touch of ensemble work). It's like they're mates who then went into crime together. The 'Colette' line also remains.

During the confrontation, which happens whilst the nuns are present, Javert whacks out a giant gun which he points at the nuns, after that the nuns throw a bucket at him. When I say I DIED.

This Grantaire isn't the Grantaire we know, he's way too optimistic and put together. When he first started singing, I thought he might be Prouvaire or Courfeyrac and they'd given one of those characters those lines! It made me think that having Courfeyrac make fun of Marius would be so much fun, they'd get to have a bit more of a relationship there, and Courfeyrac could keep his snarkiness from the novel. But I still enjoyed his performance. This Grantaire still makes fun of Marius in jest, but he is as passionate as Enjolras and can easily jump into action mode. Their dynamic slightly resembles Achilles and Patroclus' in Madeline Miller's novel, in that Enjolras and Achilles are focused and charismatic, whereas this Grantaire, like Patroclus, jumps in to help the wounded. His protection of Gavroche is there, and Gavroche sings his final lines to Grantaire, before falling into his arms dead (Gavroche throws the bag of ammunition over before stumbling back to their side of the barricade with his hand clutching his stomach, resembling Eponine's demise).

The costumes for everyone are stunning. Fantine's deshevelled look is gorgeous and Javert has an incredible black leather coat. Enjolras wears a gorgeous slightly orange toned red coat, then a red striped waistcoat at the barricade, whilst Grantaire is in a green suit, with a top hat in the early Musain scenes.

In 'Bonjour Paris' ('Look Down - Paris') we see a group of middle class men walking to the front of the stage, surrounded by the poor they appear disgusted by, whom we are encouraged to judge.

Minor characters portrayed by the ensemble are given chances to shine, and this production really feels like it is presenting a society, as the novel does. A father and daughter appear in Paris, and this father then joins the revolution. He kisses his wife goodbye as she leaves the barricade, and it's heartbreaking when we see his corpse when they are defeated. We also see a member of the ensemble listen in to Javert's confession to Valjean when he has suspicions that he's an ex-convict. This moment especially evokes the small town attitude of Montreuil-sur-Mer in the novel.

Stanley Kassa's Enjolras is one of the best I've ever seen. He's commanding, serious, and clearly empathetic; having told Courfeyrac to keep watch whilst Valjean sings 'Comme un Homme' ('Bring Him Home'), he also keeps watch, and a couple of times looks back to watch over his sleeping comrades. You can really see that he has a lot going on internally, and is reflecting on the previous day and what is to come. Before sending the fathers and women home, he does this sigh to himself, and lets us in on the inner torment and regret that the people didn't join them. Kassa also dies leaning back off the barricade with his arms out, and he keeps them there until the barricade is removed, which is impressive given the time he has to keep this position for.

In 'Dans ma Vie' ('In my Life'), there are bars to the garden stage left, then bars projected on a screen in front of the set, so Cosette actually feels boxed in and isolated from the outside world in her garden.

Cosette telling Valjean about the 'four men scheming' (replacing 'three men I saw beyond the wall' makes more sense. She and Marius actually see the end of the Eponine, Thenardier and Patron Minette scene, so she tells Valjean as she has reason to worry.

They make the decision to have the barricade rise outside the Musain rather than the Corinthe, probably to simplify things. This also creates an emotional link, as they dream of creating a new world and it's next to that space that they try to achieve that new world.

This production's Prouvaire has a beautiful openness as a performer, he carries a little book on the barricade which feels very apt.

After the defeat, two national guardsmen, plus Javert, survey the barricade, which is covered in the dead, making them face up to what they have done. We also have the national guard giving the orders at the back of stage, visible through the barricade.

'Le Suicide de Javert' ('Javert's Suicide') is heart stopping; he is on top of one of the large set pieces and towards of the song is raised higher. His death is achieved by falling back 90 degrees and the screen in front shows a projection of him falling in slow motion into the Seine. This production takes place 5 minutes from the Seine, which really hits you in this moment.

'Seul Devant ces Tables Vides' ('Empty Chairs at Empty Tables') is done with projections of shadows on the Musain set, which is a wooden piece stage right. Of course we see Grantaire drinking, recognisable as the shadow with the top hat.

'Tourne Tourne' ('Turning') is performed as the moment the families have to identify the dead, such a unique staging choice.

When things get awkward at the wedding, the master of ceremonies asks the 'Maestra' to play a specific song. When things get awkward again when the Thenardiers are eating all the food, Thenardier tries the same thing and asks the 'Maestro' for a song (there was a joke were he said something that wasn't a song, but I can't remember what). The Musical Director is then revealed upstage when she corrects him that's she's a 'Maestra', which got a big clap.

Eponine doesn't duet with Fantine in the Finale until later than usual, so we get a beautiful scene between Fantine and Valjean where she puts his hand on the book before he gives it to Cosette.

Once Valjean dies, he gets to greet everyone in death, included Myriel, who he hugs, and Javert, who he shakes hands with. And Enjolras, who feels very central to this production. He's used a lot in the trailer and Stanley Kassa has the most amazing charisma, you really root for him.

Overall, I loved this production. A lot of the lyrics are tell the novel's story more explicitly and are still poetic at times. I especially loved Fantine's lyrics, and it's so refreshing to see a different take on the material visually. I really hope this production gets a longer life, and I'm so glad we have an album with this cast. They all have golden voices, especially Oceane Demontis as Eponine. I also have to shout out Juliette Artigala for her portrayal of Cosette, I thought she was so endearing.

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Cunty Javert was iconic, but I hope as many people as possible get to see Theatre du Châtelet's cunty Montparnasse

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The first of the iconic matinee moments... "You look as if you've seen a goat!" from Joly followed by a very confused looking Will Callan stressing 'a GHOST you say a GHOST maybe' and then in the evening show Ben very obviously had to say ghost as a result.

[Audio taken 12th October 2024 Matinee, Please do not share outside of tumblr!]

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I need to ask Michael Baxter how it feels to be the funniest person in the room because this was the most iconic ad-lib I have EVER heard. You can hear how much I cracked up. THIS WAS THE FUNNIEST THING EVER.

[Audio taken 12th October 2024 Matinee, Please do not share outside of tumblr!]

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The incoming cast of Les Amis in London feat. Chris Jacobsen in the only solo feature, as he deserves

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His choice of photos in this are just 🤌🏻🤌🏻🤌🏻

EVERYONE SHUT UP! STEWART CLARKE (THE BEST JAVERT EVER) HAS AN IMPORTANT ANNOUNCEMENT TO MAKE:

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Per request! This Enjolras is foaming at the mouth for revolution and we love to see it. Also love the juxtaposition here between a very soft, romantic Marius and a loud, fiery Enjolras - just as it should be!

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"البؤســاء" Lebanese series (1974)

This is so Eponine thing.

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so

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SCREAMING AND CRYING WITH THE GERMAN VERSION OF "EMPTY CHAIRS AND EMPTY TABLES"

(THE WAY HE SAYS THEIR NAMES, ESPECIALLY GRANTAIRE, ENJOLRAS -oh my gosh my jaw dropped with Enjolras- AND COURFEYRAC)

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Link to the whole performance: