#Alain Boublil

[protectionsquad24601]

I don't think people understand how intrinsically Jewish the Les Misérables musical is. The writers of the original French musical were Claude-Michel Schönberg (Hungarian Jew), Alain Boublil (Sephardic Jew), and directed by Robert Hossein (Moldovian Jew). Schöneberg also composed the music. It was adapted into English by Herbert Kretzmer (Lithuanian Jew).

The lyrics include many references to Jewish beliefs and values. Schöneberg said in an interview, "When I’m writing a show there is always a part that is typically Jewish."

However, the one that sticks out to me especially is a line from the Epilogue:

"They will live again in freedom,

In the garden of the Lord;

They will walk behind the ploughshare,

They will put away the sword."

The origin of the phrase - specifically, the bit about 'ploughshares' and 'swords' - can be traced back to a nevuah (prophecy) by Yeshayahu (Isaiah), a Jewish navi (prophet) from the sefer Yeshayahu (Book of Isaiah). (Sorry, yes, I insist on the Hebrew words first.)

"The Torah will go forth from Tzion (Zion) and the word of Hashem from Yerushalayim (Jerusalem)... They will then cut their swords into ploughshares, and their spears into pruning knives. No nation will lift a sword against the other, and they will no longer learn warfare."

This is a quote about the 'end of days', and the idea of a peaceful paradise free from war was emulated in the song to convey a similar paradise for our barricade boys, the casualties of the June Rebellion. This is only one of the many examples of Jewish themes and references in the Les Misérables musical!

[doyouknowthismusical]

[comediesmusicales]

Teaser for the 2024 French revival production of La Révolution Française

It was a looooong time coming but it's FINALLY going to happen. A new French production of Alain Boublil and Claude-Michel Schönberg's first musical La Révolution Française will take place in Paris from January 31st to February 25th 2024 in an unusual but rather appropriate place : le réfectoire des Cordeliers, the place where the members of the Society of the friends of the rights of man and of the citizen, founded by Georges Danton in 1790 used to meet (before the municipality of Paris kicked them out in May 1791).

Also known as the Club des Cordeliers, the society also counted Camille Desmoulins, Jean-Paul Marat or Jacques-René Hébert among its members. This new production of La Révolution Française will be in concert format and will be directed by Marie Zamora.

[lovejaerim]

Les Miserable’s Opening Night in Seoul on December 6, 2023. Alain Boublil was there and made a brief speech.

Also Jaerim being funny as always.

[oh-great-authoress]

Nadia Sings no. 4

Link to last week’s song

Today we have a modern musical theater classic: “On My Own” from the musical Les Miserables (music by Claude-Michel Schönberg, lyrics by Alain Boublil and Jean-Marc Natel, based on the 1862 novel of the same name by Victor Hugo)

Life is apparently tiring when you’re catching up on two week’s worth of housework from when your parents were in the hospital, but I managed to figure out this week’s Nadia Sings.

(My dad thanks you all for your thoughts and prayers, he’s now been home for a week after receiving his lifesaving laparoscopic gallbladder surgery. He’s feeling almost completely normal, and is doing light work around the house.)

This song is one of my favorites, especially having grown up idolizing my fellow Filipino, Lea Salonga.

#pinoy pride

🇵🇭

I dare say I like it even more than “I Dreamed a Dream”.

And for those who know, before you say, “Wait a minute, it sounds weird,” I am not singing it in original key, because (and not to sound like such a soprano, I’m just really being honest here) the original key is too low for me.

Like, you-cannot-hear-the-low-notes low.

I tell you, it was such a strange experience hearing the introduction that high.

Once again, using my trusty recording studio (*cough*mydiningroom*cough*), and my favorite recording app, BandLab (not an advertisement, you guys know the drill 🤣), I put this together, and, as usual, while I put a little reverb effect on the backing track I used, as well as on my vocal track, this is otherwise as unadulterated a track as the one I posted last week, just my voice, with no pitch correction, recorded into my iPhone.

I hope you enjoy!!

(Headphones recommended to hear the reverb)

Tagging the same people I tagged last week, as well as those who enjoyed last week’s offering:

@welsharcher

@valmare

@batmantaking-hobbits2gallifrey

@justhereforfandomandfriends

@musewrangler

@oh-nostalgiia

@sakar-rad

@radical-sky

@randomfoggytiger

@agentfaust

@two-microscopes

@canmking

If you would like to be taken off the taglist, just send me a message, no hard feelings, and if you’d like to be added to the taglist, just interact with/reblog this post or send me an ask!

[unwelcome-ephestion]

Possibly the funniest version of the ABC Cafe ever recorded is the original French concept album of Les Misérables back in 1980. About 30 seconds in you'll hear Enjolras come in, where we recognise "Lamarque est mort", or "Lamarque is dead", which we expect to be sung in the style of a funeral march. This version? Oh no. Presumably to capture a radical sound (for 1980), Enjolras is infused with a kind of groove disco! It's probably better that this was abandoned for a more serious sound in keeping with the epic tone of the show, but it's a great relic of the show in its pre fame days - and shows just how much orchestration can inform a song!

[darkwing-ramblings]

Christianity and the portrayal of it through The Bishop and The Thenardier's from the Les Miserables musical

@stellavesperis

"Hmm I’m happy to share where I stand on religion in how it relates to its presence in les miserables later but putting it into words shall be a separate message I think to properly give it space to breathe and see what I end up coming up with."

My previous pledge.

"(For the record, my personal views on religion are rather all over the place at the moment, I'm queer but I grew up Christian, so it's taking some time for me to reconcile the two, but it's important to me that I do reconcile them and I don't let someone's beliefs get in the way of my own. I'm not quite as firm as my posts may have made me seem, but those headcanons were really something I needed to hear that day and a step in the right direction for me :)"

Your own prefacing. This is extremely reasonable and I have no intention of trying to impede the process- religion at an individual belief level is after all something extremely finicky and weighted with so many considerations that any attempt to by anyone is also nearly doomed I imagine. It reads like discussions of religion outside of pointed context is still fine to attempt thus I shall continue with my post and it's up to you if it's a conversation you find interesting or useful enough to participate in?

Well, that was long.

Religion and me, myself and I and an important disclaimer

The subheading needed to contain my own greatly abbreviated preface (message me directly if you want the whole thing, I'd be happy to share more specifics there but won't derail n a public post to quite that extent).

I myself am not a believer in any particular faith or divine higher power and have been raised as such, but a couple of people in my family happen to be religious so I have some experience with Christians in that setting as well as a few friends who have at some point also believed. I have always admired the solace belief in the afterlife etc can allow with its structured framework in helping individuals navigate the world and hold no ill will towards anyone for such beliefs. I think the freedom to practice or not practice a religion is incredibly important as is never assuming a "default" and "normal" category for someone to fall into.

There are undeniably issues with religion as an organised institution that holds power today and has done historically. However, I won't go further into it here beyond clarifying my ability to reconcile both that institutional pressure pushing interpretations of beliefs/faith/the divine can cause harm to those in a religious community and outside of it and that as with any group chriastians (or any religious folks) are not a monolith even sub-denomination who all share the same views.

The Bishop

Is a supporting character with whom the story would not exist as it does- the role both his belief in redemption and mercy and the importance of empathy towards his fellow man is the lynchpin of facilitating Valjean's journey to inner peace. His internalisation of Christianity contributes to his willingness to offer second chances and more directly to the power he is bestowed by the church to follow through with that desire into action.

His unashamed kindness and prioritisation of the tenet that everyone has a soul and the right to a personal relationship with a forgiving god no matter their circumstance is fascinating and reaches the same conclusion that a secular person may also reach of "every life has value" extremely pleasingly.

Frankly, I rather appreciate that a character who's so unabashedly good is in the musical and who saves Valjean from spiralling despair as a rather saintly paragon. I also think that his religion greatly informs how he reached where he is but that it does not detract from him as a person just being like that too. For all religion gave him the structured path to help others through charity etc it itself as a system of belief is not necessarily the entirety of his character and I believe in any life where he could make circumstances work getting by he would be a good man.

So Monsieurs you may release him For this man has spoken true I commend you for your duty May God's blessing go with you. But remember this, my brother See in this some higher plan You must use this precious silver To become an honest man By the witness of the martyrs By the Passion and the Blood God has raised you out of darkness I have saved your soul for God!

The passage comes after Valjean attempts theft for the second time and is once again found out by the police and dragged back for The Bishop to confirm it. The Bishop notably is acting against the laws of the society without any moral qualm in his offering mercy here, even as he thanks the policemen for doing their job as the agents of the law not makers of it.

But, more interestingly, while "God's blessing" and an unrelenting faith in everyone having a "soul "worth leading to the light again are invoked and The Bishop speaks on behalf the divine as he knows it he also calls Valjean "brother". Now "brother" recognises Valjean as his fellow man, a fellow child of God sure but also just as another person capable of change which again is a stance I believe he could have reached with or without structured faith. It is just religion that gives him such unflinching conviction in his view of the world as it is and culturally ensures that the policemen respect him as a community figure of importance and take his word as a witness for it immediately despite the shakiness of Valjean's tale that is only afterwards and in the moment made true of the silver being a "present".

Thenardier

Also claims to be Christian, as does his wife, with a rather different portrayal from the musical regarding their self professed faith.

Thenardier is a thoroughly nasty character, a career criminal who: cheats on his wife, threatens his own daughter, runs his legitimate inn shadily, overcharges customers when he has a legitimate business, isn't above violent crime, loots corpses and runs pre-mediated cons that the police can never quite catch him out on. In his and his wife's one act of almost decency agreeing to fostering Cosette for money that's not not a rip off of Fantine they show themselves to be extremely negligent about actually looking after her, using her as essentially slave labour and insulting her and her mother to Cosette's face. It's just awful, particularly when Thenardier's wife at least is shown to be capable of being alright when it contrasts with how she treats a young Eponine.

The implications are that they don't actually believe in God in any way that's real and not an act, which I'm not all that fond of on its own as the only characters more or less explicitly shown to do so.

In Look Down there's lines that mirror Thenardier's later ones in the sewer commenting that where there is great suffering God clearly can't be there or listening though I suppose so it as a reflection of harshness which Thenardier willingly engages with not on atheists being less moral is a possibility. Turning also has some sense of the lack of hope being what drives character's to losing faith in the face of hardship that it doesn't villainise the grieving for.

[CONVICT TWO] I've done no wrong! Sweet Jesus, hear my prayer!

[PRISONERS] Look down look down, Sweet Jesus doesn't care

(Look Down)

It's a world where the dog eats the dog Where they kill for bones in the street And God in His Heaven He don't interfere 'Cause he's dead as the stiffs at my feet I raise my eyes to see the heavens And only the moon looks down The harvest moon shines down!

(Dog Eat Dog)

WOMAN SEVEN Same old story. What's the use of tears?

WOMAN FIVE What's the use of praying if there's nobody who hears?

ALL Turning, turning, turning, turning, turning Through the years.

(Turning)

But I do appreciate how Thenardier saying the right words and presenting as faithful to the Christian church etc is a tool that he abuses and gets away with as a way to bring in some criticism on how it can function as a tool to hurt people and not face consequences, regardless of whether individuals such as Valjean and Marius call him or his wife out.

[MADAME THÉNARDIER] That would quite fit the bill If she hadn't so often been ill Little dear, cost us dear Medicines are expensive, Monsieur Not that we begrudged a sou It's no more than we Christians must do

(The Bargain)

Lip service to compassion which contrasts rather well to The Bishop and particularly his acting as an individual to show Valjean mercy rather than on any established policy.

THENARDIER So it goes, heaven knows Life has dealt me some terrible blows.

MME. THENARDIER You've got cash and a heart You could give us a bit of a start!

(Wedding Chorale)

As for you, take this too! God forgive the things that we do.

Marius following punching Thenardier up with that is also funny, as a personal note.

We know where the wind is blowing Money is the stuff we smell. And when we're rich as Croesus Jesus! Won't we see you all in hell!

(Beggars at the feast)

This suggests its more their focus on the present life being comfortable than about disbelief in the afterlife outright but it's up in the air.

In conclusion

Religion adds fascinating layers to characters and their dynamics when integrated into a story and explored as a theme but for me it works best when there's multiple representations of it all that enrichen the complexity of issues.

I also enjoy the differences in how belief in a possible divine power manifests in affecting characters as its all still individual reactions.

I shall eventually get around to working on a Valjean and Javert one plus the finale and Fantine at possibly a separate and later point, I'll see.

I would be happy to hear anything of your own you have to say or add or disagree or agree with here, @stellavesperis, or whoever jumps in if they're suitably polite!

[ulrichgebert]

Dann haben wir uns doch mal an Miss Saigon gewagt, das ich auch immer etwas misstrauisch beäugt habe, obwohl es für die eigentlich total begrüßenswerte Erfindung von Jonathan Pryce als Musicalstar verantwortlich war. In der Aufzeichnung der 25-Jahre-Jubiläumsaufführung, die nun auch schon wieder 9 Jahre her ist.  Misstrauisch beäugt habe ich es, weil es von den Leuten ist, die auch Les misérables geschrieben habe, und weil ich Madama Butterfly auch immer misstrauisch beäuge. Es ist dann auch wieder ein ziemliches Spektakel mit gelegentlich etwas brachialer Musik (trotz Solosaxophon), aber man kann ihnen zumindest nicht vorwerfen, daß sie sich auf ihrem Erfolgsrezept ausgeruht hätten, und eigentlich ist es tatsächlich nicht so schrecklich, wie ich immer angenommen habe. Aber kommen Sie, ein Hubschrauber?

(x)

[darkwing-ramblings]

@stellavesperis it remains I, darkwinganimus by another name, for my own sorting purposes I changed blog, to clarify before I reply properly.

Phantom is a great show, I agree! I rather unusually adore the love song present it has, All I Ask of You. Because it actually feels distinctly individual in declarations, the verses play off of each other and the tune is gorgeous with the slow melody. But my favourite remains Wishing You Were Somehow Here Again because I find much of the sentiments on grieving poignantly pleasing and also treating the topic with the grace it deserves. The way it encapsulates Christine and the Phantom's relationship in the end segment transition of her grief being the opening he needs that they almost genuinely connect through but never quite equally is great too! My favourite lines from the musical have got to be

"Wishing you were somehow here again Knowing we must say goodbye Try to forgive, teach me to live Give me the strength to try"

Les Miserables has such good use of leitmotifs and recurring notes yes! The reprises and parallel tunes and characters drawing on each other's earlier sounds and words is perfection. Javert and Valjean alike despairing to the same beats because of the same justice system case is absolutely brilliant storytelling and interlinking their stories in a way that still gives space for them to react differently characterisation wise but oh so similarly (Valjean throws away Valjean and picks up aliases etc for ages and Javert, well).

The finale is so good! It ending, despite it all, ultimately hopefully is exactly what I want from stories because nihilism is useless. If one writes of life and caring about other people and facing adversity but pushing through by faith/whatever else a character finds meaningful then to conclude in any style but one that says "It was worth it, no matter how hard or how bad it got just trying meant something and there is always hope that eventual change will come even if it is after you are gone" just misses the point of exploring characters and what they make of their lives entirely, I think. Also it gradually getting louder from ghostly quiet is neat like you do too it appears!

From Les Miserables my favourite lines have got to be the realisation Javert and Valjean's interaction in The First Attack yields:

You are wrong, and always have been wrong I'm a man, no worse than any man You are free, and there are no conditions No bargains or petitions There's nothing that I blame you for You've done your duty, nothing more If I come out of this alive, you'll find me At number fifty-five Rue Plumet No doubt our paths will cross again

Because it feels like the perfect culmination of proof that Javert has been truly beaten and it's so unapologetically anti-dehumanisation and compassionate and indicative of how at peace with himself and what he chose to become from years of hard effort from Valjean that it hits rather hard.

Javert has some pretty cool bits, such as from Fantine's Arrest:

I have heard such protestations Every day for twenty years Let's have no more explanations Save your breath and save your tears Honest work, just reward That's the way to please the Lord

Which are lines obviously horrible but they're really sung with conviction and show why he's a brilliant paragon of a character!

The verse I find funniest is Enjolras' utterly ruthless disregard for Marius' air-headed daydreaming infatuation in Red&Black:

Marius, you're no longer a child I do not doubt you mean it well But now there is a higher call Who cares about your lonely soul? We strive towards a larger goal Our little lives don't count at all

Because who could hear that and not be entertained? it brings the song back on track so effectively back to the important things like dying a martyr in a violent rebellion, honestly Marius, how could you get distracted from such an alluring goal? For shame!

Grantaire being supportive and also still calling Marius delusional is second place:

Is Marius in love at last? I've never heard him `ooh' and `aah' You talk of battles to be won And here he comes like Don Ju-an It's better than an o-per-a!

They really don't spare each other's feelings one whit in their group! The verses are from the same song and I love them for it!

Also, as is hopefully apparent, you need not apologise for having rambled! Why you were positively restrained I'd say and at worst hardly more rambling than I was!

Which is your favourite Phantom of the Opera song?

And to accompany it with is your favourite song from Les Miserables?

Plus any amount of why you might choose to expand on it with would be interesting to read I'm sure!

Oooooooh!!!!!! Thanks for the ask! :D This is a hard one. Here it goes:

Phantom of the Opera This is like picking my favorite child. All of this music is so good in its own way!!!!! However, I don't think there is actually a moment where I transcended this plane of existence more than the moment of when the Overture begins for Phantom of the Opera. The ostinato under the main theme is just FANTASTIC. The Overture (and the title track as well) captures the haunting, the drama, the chills of the whole show so well!!! (Angel of Music is up there for me as well, it's a little different vibes, but I love the 6/8 meter and the violin in the beginning :) and also Music of the Night... and well, all of it. I guess that makes the final track my favorite, because Andrew Lloyd Webber just does such an amazing job of weaving all these little themes together.) Les Miserables Oh, who am I kidding, this is also like picking my favorite child!!!! All of these songs are so good!! For me singing, I enjoy On My Own quite a bit, because it fits my range much better than most of the songs. But ultimately I think One Day More is unparalleled!!!!!!! (I guess I love the songs where they weave all the other leitmotifs together. It makes me so happy :) But Les Mis has SO many gorgeous moments in all the songs; it's hard to say that I like any of them less than the others. I still think my favorite line and moment is when "To love another person is to see the face of God" is sung and transitions into "Do You Hear the People Sing" in the Epilogue, even if One Day More is ultimately my favorite. That moment has fully altered my brain chemistry. Thanks for the ask!! Sorry I rambled a little bit XD I hope I answered coherently enough!

[mthguy]

Les Miserables

"One Day More"

One day more Another day, another destiny This never-ending road to Calvary These men who seem to know my crime Will surely come a second time One day more

I did not live until today

How can I live when we are parted?

One day more

Tomorrow you'll be worlds away And yet with you my world has started

One more day all on my own

Will we ever meet again?

One more day with him not caring I was born to be with you

What a life I might have known

And I swear I will be true

But he never saw me there

One more day before the storm Do I follow where she goes? At the barricades of freedom Shall I join my brothers there? When our ranks begin to form Do I stay or do I dare? Will you take your place with me?

The time is now The day is here

One day more

One day more to revolution We will nip it in the bud We'll be ready for these schoolboys They will wet themselves with blood

One day more

Watch 'em run amuck Catch 'em as they fall Never know your luck When there's a free for all Here a little dip There a little touch Most of them are goners So they won't miss much

One day to a new beginning Raise the flag of freedom high Every man will be a king Every man will be a king There's a new world for the winning There's a new world to be won Do you hear the people sing?

My place is here I fight with you

One day more

We will join these people's heroes We will follow where they go We will learn their little secrets We will know the things they know

One day more

Watch 'em run amuck Catch 'em as they fall Never know you luck When there's a free for all

We'll be ready for the schoolboys Tomorrow we'll be far away Tomorrow is the judgement day

Tomorrow we'll discover What our God in Heaven has in store One more dawn One more day One day more

[doyoulikethissong-poll]

ABBA - Waterloo 1974

"Waterloo" is a song by Swedish pop group ABBA, with music composed by Benny Andersson and Björn Ulvaeus and lyrics written by Stikkan Anderson. It is first single of the group's second studio album of the same name, and their first under the Atlantic label in the US. This was also the first single to be credited to the group performing under the name ABBA. The title and lyrics reference the 1815 Battle of Waterloo, and use it as a metaphor for a romantic relationship.

In 1974, "Waterloo" represented Sweden in the 19th edition of the Eurovision Song Contest held in Brighton, winning the contest and beginning ABBA's path to worldwide fame. The song differed from the standard "dramatic ballad" tradition at the contest by its flavour and rhythm, as well as by its performance. ABBA gave the audience something that had rarely been seen before in Eurovision: flashy costumes (including silver platform boots), a catchy uptempo song and simple choreography. It was the first winning entry in a language other than that of their home country; prior to 1973, all Eurovision singers had been required to sing in their country's native tongue, a restriction that was lifted briefly for the contests between 1973 and 1976 (thus allowing "Waterloo" to be sung in English), then reinstated before ultimately being removed again in 1999. Watch the performance in Swedish here. Sveriges Radio released a promo video for "Waterloo" that was directed by film director Lasse Hallström, whose first notable English-language film success was What's Eating Gilbert Grape in 1993. ABBA recorded the German and French versions of "Waterloo" in March and April 1974; the French version was adapted by Alain Boublil, who would later go on to co-write the 1980 musical Les Misérables.

The song shot to number 1 in the UK and stayed there for two weeks, becoming the first of the band's nine UK number 1's, and the 16th biggest selling single of the year in the UK. It also topped the charts in Belgium, Denmark, Finland, West Germany, Ireland, Norway, and Switzerland, while reaching the Top 3 in Austria, France, the Netherlands, Spain, and Sweden. Unlike other Eurovision-winning tunes, the song's appeal transcended Europe: "Waterloo" also topped the charts in South Africa, and reached the Top 10 in Australia, Canada, New Zealand, Rhodesia, and the US (peaking at number 6, their third-highest-charting US hit after number 1 "Dancing Queen" and number 3 "Take a Chance on Me"). In 2005, at Eurovision fiftieth anniversary competition Congratulations: 50 Years of the Eurovision Song Contest, "Waterloo" was chosen as the best song in the contest's history.

"Waterloo" is featured in the encore of the musical Mamma Mia!. The song does not have a context or a meaning. It is just performed as a musical number in which members of the audience are encouraged to get up off their seats and sing, dance and clap along. The song is performed by the cast over the closing credits of the film Mamma Mia!, but is not featured on the official soundtrack. It is also performed as part of the story in the sequel, Mamma Mia! Here We Go Again, by Hugh Skinner and Lily James.

The Australian film Muriel's Wedding (1994), features "Waterloo" in a pivotal scene in which lead Toni Collette bonds with the character played by Rachel Griffiths. The film's soundtrack, featuring five ABBA tracks, is widely regarded as having helped to fuel the revival of popular interest in ABBA's music in the mid-1990s. "Waterloo" features prominently in the 2015 science-fiction film The Martian. The song plays as the film's lead, played by Matt Damon, works to ready his launch vehicle for a last-chance escape from Mars. In "Mother Simpson", the eighth episode of the seventh season of The Simpsons, Mr. Burns plays "Ride of the Valkyries" from a tank about to storm the Simpson home, but the song is cut-off and "Waterloo" is played, to which Smithers apologizes, advising he "must have accidentally taped over that".

"Waterloo" received a total of 89% yes votes!

(the video is posted by ABBA's own account, not Eurovision's = safe to watch)

[doyouknowthismusical]

[lithium-poet]

andré aciman, call me by your name // m. l. rio, if we were villains // before sunrise (1995) // caitlyn siehl, mythology // hozier, take me to church // alain boublil & jean-marc natel, les misérables: a musical

[ringmaster-midori]

Giggling more still, Midori replied, "Oh, thank you! I wanted to make a good impression, so I had some people come by an' show me the proper way to do it. Make the bed, that is! Yeah, for years after I lost my family, I didn't even have a proper bed. Now I'm here an', since Myron passed, I've inherited his bed an' it's the biggest one I've ever had for my own! It's comfy. I remember, from when I had actual body heat, that the bedclothes are nice an' warm, too! I'm really lookin' forward to sharin' your body heat an' feelin' warm again—an' OH MY GODS, I hope that doesn't sound creepy! You're the first person to share this bed with me.

"Yeah, I guess I am a bit nervous, sleepovers aside. Gotta get up at dawn an' leave to fight the entire xulgath army. (Ha ha, let me get this out of my system an' I'll shut up about it.) Seems daunting, but we gotta do it. It's the only way to break the siege! But one day more an' we should have this all finished. One more day an' the town can be free."

Midori burst into song.

🎶🎶🎶 One day more!

Another day, another destiny This never-ending road to break the siege These foes we struck down in our prime Will surely fall a second time

One day more!

One more day before the storm At the barricades of freedom When our ranks begin to form Will the Circus stand with me?

One day more!

One day to a new beginning We'll see what the dawn will bring There's a free world for the winning Do you hear the people sing?

One day more!

We have learned the xulgaths' patterns We will follow where they go We have learned their little secrets We will use the things they know

One day more until the siege breaks We will nip it in the bud We'll be ready for those xulgaths They will wet themselves with blood!

Tomorrow we'll discover What the gods in heaven have in store! One more dawn! One more day! One day more! 🎶🎶🎶

Midori took a deep breath and exhaled. "Sorry 'bout that. Okay, then, time for bed!" She climbed under the covers and put an arm around Nisha, snuggling closely.

"Well, then," Midori took Nisha's hand in her left hand and caressed the back of it with her other, "would you like to snuggle in bed with me for the night?" She looked into Nisha's eyes, her own pupils dilating once more, then smiled sweetly.

[comediesmusicales]

Les Misérables in Paris in 2024

A new french version of Les Misérables will be performed at the Théâtre du Châtelet in Paris from November 2024 on.

This new production will be directed by Ladislas Chollat (Résiste, Oliver Twist, le musical) and will feature new songs and new lyrics by Alain Boublil and Claude Michel Schönberg themselves.

The last auditions will be broadcast live on French radio show 42nd Street, on October 15th, and some cast members will be revealed !