#It's such an Important Part of the Brick so I'm keeping this for the Barricade Day.

[lesmisscraper]

Happy(?) Orestes Fasting and Pylades Drunk Chapter Day Everyone!

[valjeancrazylover2]

So... Who's Gérard?

Thinking about his stupid ass so I'm making a post LOLLL

If you saw my post about Marius' friends, you'll have read about the infamous Gérard Ambroise - hes a bit mysterious, a bit of a dickhead, but sticks around regardless. So.... who is he exactly , you might be asking?

Pre-note.... shoutout to @24601orwhatever as per usual for helping me develop all of this and being the one to suggest gérard be canonised in the first place! he wouldn't be alive without you! most of what you will read below in the byronverse section will probably have been suggested or , like. "yes, and"-ed by him. THANKYOUUUU!

Let's begin ! (this is going to be a bit long, sorry.)

FROM THE META ANGLE:

For those who are not part of the like, 5 people worldwide who are In The Know (or maybe there are actually people who pay attention to my deranged rants on my main blog, i dunno), Gérard is, technically, an actual character in Les Mis. Officially he is an unnamed student, and has some iconic lines such as Our world! and Marius, sit down!. You may also spot him at the start of the ABC café scene seemingly arguing with enjolras centre stage.

The character who runs that track is not called gérard of course, though i call every actor who covers or plays the role in previous productions "Fake Gérard"s. Gérard is ONLY Gérard when played by Jordan Simon Pollard, on the West End. He's even in the programme, twice!

Here's some more pictures, with his iconic glasses. (Didn't have em in the programme for some reason.)

The surname Ambroise is completely invented by me. The name Gérard however, the man himself told me, for which I am eternally grateful Thanku hero

And thats basically all there is to know about the "canon" character, other than funny little details i spot. Keep an eye out for him. His track runs usually further offstage so you might miss some of the drama (or him completely if you're watching a bootleg) but if you're like me you probably prefer to watch whatever the fuck the ensemble are doing instead of the leads (sorry, enjolras).

SO IT'S PROBABLY IMPORTANT TO MENTION that the Gérard in the show and the Gérard in my head are two different guys. The interpretation I have of his character comes from my insane mind flanderising little interactions into oblivion until he became this man with a personality like sandpaper. The interpretation that Jordan Simon Pollard himself has on the character is most definitely entirely different. If he somehow sees this, sorry promise i'm normal.

That brings us to...

THE BYRONVERSE ANGLE:

In the brick, i think its mentioned that 5 students escaped, disguised as national guardsmen? well... regardless...... somehow Gérard survived, a slightly meta inside joke about the fact that the first time i was actually paying attention to him in a show, i lost track of where he was on the barricade and he seemingly just vanished and therefore theoretically could have survived the barricade. However the last time i saw him he did indeed take a bullet to the face (while screaming insults, might i add). My canon doesn't follow brick canon word for word anyway, as i like some details of other adaptations better and they work better with my characterisation - whatever. not important right now ,, kinda ,,,

anyway, gérard was one of les amis d'ABC, obviously. A law student, like marius, but cared more about activism, politics and debate than he did his degree, hence joining the revolution. he locked horns with enjolras a fair bit, but was not all that outspoken or loud, usually preferring to keep his head down and judge the rowdy students from afar, shaking his head in silent disapproval.

During the rebellion, suddenly he was faced with the reality that he may very well die, but was still determined for the cause and fought hard, gaining himself a nasty scar to the jaw and a few injuries here and there , yknow, the normal stuff. (another slightly meta note here, in the show, i dont know whether it's jordan not being able to act firing a musket or what, but i first interpreted his shooting during the Attacks to be him looking away from where he was shooting before he fired. this was probably me misinterpreting a very quick glimpse i saw, but whatever, #adoptingintomybeliefsystem.

He got out alive, laid low for a bit, continued his habit of wall-hugging everywhere he went, returned to his studies as a student. His injuries were not so grave like marius' that he took significant time in bed, plus he's a stubborn bastard so would've been up and about anyway if he didn't have anyone to play dramatics around for sympathy.

Emotional scarring however WAS there, of course, and caused him to become a lot more withdrawn and bitter. He became highly defensive and generally abrasive. If he was not a people person before, he certainly was not now. I suppose that's his way of trying to keep his identity low to avoid, yknow.. getting arrested for being an insurgent. just glower at everybody so they leave you alone.

He met marius completely by coincidence - if you read my last post, and as you'll find out if you read the fic when it releases, he was drawn in kind of against his will by Marius' friend René (another law student who dngaf about the law, just wanted to meet people and get the gossip) who saw his Mysterious Aura and got chatting. Gérard noticed something familiar about Marius and vice versa, and found them strangely drawn to each other.

They find each other utterly annoying. They cannot be left in the same room or marius will feel so awkward he will literally fold up and gérard will burst a blood vessel. Gérard will not shut up about politics, which reminds Marius of Enjolras, which brings back memories, which- its just a whole mess. but they have a warriors bond nobody else understands.

and thats the gist, i guess?

so its time for my favourite part ...

INCONSEQUENTIAL CHARACTER DETAILS THAT I THINK ARE FUNNY

He's an absolute train wreck of a guy, as i'm sure you've already gathered. he's rude, unpleasant, a repressed homosexual and an outspoken radical.

Another little meta joke - there's another ensemble character Jordan Simon Pollard plays in les mis. another unnamed character, but he in fact gets TWO lines, in the intro to Master of the House - "Landlord, over here!" and "God, this place has gone to hell!". He told me this character is called Willy Wonka, so we'll call him wonka for now, because previously i was calling him Tall Jean or Jean 3, and willy wonka i fear is more insane and also the OFFICIAL name from the guy himself so who's to argue.

anyway my point - Gérard has a brother. i'm sure you guessed it's wonka. we did indeed canonise that connection, for a laugh .

Yes the only official photo of him has luke's arm in the way. Oh well! You know it's wonka because of the red coat and brown hat. yknow... like willy wonka...

Anyway. his deal. sometimes in the show he will pull out some perfume and spray himself, so let's assume he's a) gay b) into perfume. He seems to be a much more amiable guy than his brother, chatting with other patrons at thenardier's inn (and even sometimes flirting with other men. saw him sit on a dude's lap once. most recently a guy came up to him while he was stood in the doorway gayly and the guy dragged a finger down wonka's stomach seductively. sometimes he dances with the ladies too, so he's either a gay for the girlies or bisexual, you choose) and even dancing around and joining the festivities, overall having a GREAT time , GOD he is SO fun to watch onstage i can HIGHLY recommend. he's tall, dressed in red, camp, and always smiling, he's hard not to miss.

Him and gérard don't really talk. He won't come up much in future, but he's here and he's queer!

(there has been some discussion of other JSP ensemble characters being relatives of Gérard, such as the wedding guest in Beggars at the Feast - who thenardier flirted with and nearly kissed last time i saw the show - but none of it has been wholly funny enough to be canonised at all. From a byronverse standpoint, Marius did not know Gérard at the time of his wedding, PROBABLY? timeline is still, uh, nonexistent?)

(the timeline issue also struggles with wonka's age in relation to Gérard's, becuase obviously Master of the House is 15ish years before the ABC café, so should wonka be significantly older than his brother....? yes. probably. but i don't think about it too hard. he's just......... older than gérard by a nondescript amount of time.. it's not really important and i can tweak stuff to make it work, WHATEVERR)

AND LASTLY, the funniest shit ever, the Gérard Ambroise situationships.

When jordan was on with milan valjean, they'd talk and interact during drink with me off to the side. I'll let you make your own assumptions there.

As mentioned, he's a repressed homosexual. he is in close quarterd with the aforementioned (some time ago) René Gignac, who is VERY camp, very effeminate, participates in the homosexual underground of Paris, the WORKS. Gérard has very conflicting feelings about this man, because on one hand René just LOVES to rile him up by saying purposefully stupid things whenever Gérard makes a political comment. and he can't just back down.

he assumes the hotness he feels in his body is to do with the anger, surely nothing more.

Anyway they at some point get together, its weird, its uncomfortable and awkward, they break up. and get together. and break up. and get together. and this repeats, like, a thousand times throughout the time they know each other. literally the WORST couple ever, to the point where everyone kind of loses track of whether they're together or not, because it's really hard to discern when they are, becuase Gérard is a bit ashamed and René is purposefully trying to piss him off.

René this whole time also has a crush on one of the other members of the friend group, Albéric, but this is mostly superficial and he just thinks he's hot . Albéric is not interested and René knows and respects this, however this does not stop him from pretending Gérard is Albéric whenever they kiss.

There's not much to it. it's textbook toxic yaoi .

it does get funnier however when René does, one day, meet Gérard's brother WHO you will remember is also effeminate and likes perfume - just like René. Needless to say they get on SWIMMINGLY, wonka probably sells rené a perfume or two, and ultimately get together. René does not tell Gérard this. he does however find out because René is wearing Gérard's older brother's perfumes, and Gérard is furious . you can imagine the kind of argument that'd follow.

Whether rené and wonka end up happy i DON'T know. havent thought that far but it was the funniest outcome to me after the disaster that was rené and gérard's "relationship".

ANYWAY! thats all i have to say on this freak. hope this was at all comprehensible. here's an audio clip of one of his wonderful lines in Red & Black.

[barricadebops]

As I'm about 99.9% positive you would agree, I will never understand why people say that Enjolras isn't a good friend or wouldn't be a good boyfriend. Like I get that the revolution and his work was important to him (I personally believe that he would balance his friends and work to the best of his ability), but you cannot tell me that he wouldn't drop everything, including his work, at a moment's notice if a friend needed him. This is something that I believe wholeheartedly, and someone would have to pry this head canon/belief/whatever you want to call it out of my cold dead fingers.

Yes, I of course agree with this 100%. I really don't understand why people would say that either, it is just not him! The thing about Enjolras is that he cares so much, enough to the point where it was what got him killed. Some may argue that he cares more for his cause than for people, and I would say that is because they are viewing the cause and people as two different concepts, when, in reality, they are actually one and the same! Because Enjolras' cause is the people and that includes all people—the common man Feuilly, his (probably previously) wealthy friend Combeferre, and even the man who on several occasions has let him down, disappointed him, and given him all the reason not to trust him, Grantaire. If his cause is the people, how could he ever feel cold towards the people who matter most to him?

I think the idea a vast amount of people have that Enjolras doesn't love comes from the fact that canonically Enjolras does not experience romantic love, and frankly, this sort of thinking is rather dangerous, because it erases the fact that love comes in so many more forms than just romance. Enjolras is filled with an incredible amount of love—love for his friends, love for the people around him, and love for the future, and every one of those aspects links back to the love he feels for those who surround him. It is the love for the people he would encounter everyday while walking on the streets, it is the love for the people he would meet when he would go to buy his bread, it is the love for the friends who would look to him as their beloved friend and leader—it is his love for these people that he launches an entire rebellion— and subsequently dies for it, too. His ideals are defined by the motto of France—liberty, equality, and fraternity—but these ideals are driven by his greatest ideal of all, the one he hold key above others: love, and he makes his value of the ideal abundantly evident in his speech following the execution of Le Cabuc when he says:

"This is a bad moment to mention the word 'love.' I mention it anyway, and I glorify it. Love, the future belongs to you... In the future there will be no killing, the earth will be radiant, the human race will love." (5.12.8.)

From this, it is quite clear that Enjolras does not just experience love, but feels one of the highest and most greatest forms of it, so the characterization that he knows not of the feeling of love is quite unfounded.

He absolutely does love his friends to death. The one time we see him ready to forsake his ideals is when rather than keep the valuable spy Javert, who holds information about the rebels at the barricades, he is willing to hold an exchange so that they may bring back Jehan Prouvaire.

"'Yes,' replied Enjolras. 'But not as much as by Jean Prouvaire's life.'" (5.14.5)

He also sees so much good in his friends, he believes in them wholeheartedly, and for Enjolras, his belief is his expression of love.

"He composed, in his own mind, with Combeferre’s philosophical and penetrating eloquence, Feuilly’s cosmopolitan enthusiasm, Courfeyrac’s dash, Bahorel’s smile, Jean Prouvaire’s melancholy, Joly’s science, Bossuet’s sarcasms, a sort of electric spark which took fire nearly everywhere at once." (5.1.6.)

I've always loved this passage because it allows us to glimpse into Enjolras' mind and see how he truly thinks of his friends, and the way he sees them is incredibly sweet. He sees these people as his brothers who are capable of amazing feats, who are just as passionate as he is, and will be the ones to help him fight for the future. The love he holds for them is incredible, and though we get to see inside of Enjolras' head so little, this passage here is quite enough to inform the reader of just how much Enjolras draws joy from his friends.

In terms of the canonicity of the brick, I have always seen Enjolras' final moment as him realizing and accepting Grantaire's love for him (I would also argue that this moment is also when Grantaire himself, having not known exactly what it was he felt for Enjolras, also realized what exactly he felt for him), but dying with him only as a friend, but the fact that he smiles, and that it is him who extends his hand towards Grantaire says a lot about how strong his platonic love for his friends is. And of course, once again it is not just for his friends; far too many people see Enjolras as a man willing to sacrifice whoever and whatever in order to accomplish his goals, but his words once he discovers that Paris has abandoned their barricade say otherwise. When the rebels stubbornly insist that they all remain, no doubt fantasizing of dying "heroic martyr deaths," rather than encourage them, he instead essentially chides them by reminding them that:

"Vain-glory is wasteful[,]" (5.1.14)

so to paint him as merciless holds no merit. I feel as if this image comes from the quote:

"Enjolras was a charming young man capable of being terrible." (4.4.1.)

While yes, it is very capable for Enjolras to turn ruthless, the key word in that sentence is capable. The word that preceeds it, the one that follows after the definite word was, is the word charming, and the fact that charming is put before terrible holds great significance. Enjolras' first instinct, what comes to him naturally, is to do good, to be good, to be charming. He can be terrible, yes, but he must put his mind into doing so, whereas being a good person comes to him without thinking. Many tend to ignore the first part of the sentence in favour of the second, and they twist it to mean that his first instinct is to do bad instead of good, which really does not define his character at all.

Perhaps the biggest contributor to the misinterpretation of Enjolras' character is the way people have read his dynamic with Grantaire, and the way the lines between canon and fanon Grantaire have been so thoroughly blurred that it has ended up distorting Enjolras' image while erasing major parts of Grantaire's character that makes him the character and to a greater extent, metaphorical representation he is. I will not lie; I write fanfiction, and the version of Grantaire that I write into my stories is most definitely his fanon image; in other words, he is a vastly improved version. But it is incredibly important to acknowledge the way the two concepts deviate from each other, or you'll end up with a situation in which the character you have in mind isn't really the original character itself. It's okay for people to have different perceptions! Everyone understand literature differently, and that's the beauty of the arts! I think it's totally cool that everyone believes in characters in different ways! But for me, it really bothers me the way the fandom tends to paint Grantaire as a saint while portraying Enjolras as a character who always seems to know less than Grantaire, always is on a lower platform than Grantaire, and is always harsh and unjust towards Grantaire, because it simply is not true. A lot about Grantaire is ignored in terms of the canonicity of the brick. For example, it is true that Grantaire is, in fact, ugly, and he's described that way for a specific element of the narrative that Victor Hugo is writing in (@lilys-hazel-eyes is writing a great analysis on morality represented by beauty, which is exactly the point here—you should definitely go check it out!) In the brick, Victor Hugo describes Grantaire's cynicsm to be the "dry-rot of intellect" (4.4.1.) Hugo's stance on nihilism and cynicism is made quite evident in the way he portrays Grantaire, a character meant to represent the physical manifestation of cynicism (some say that he's the physical embodiment of Paris itself and I think that's a really neat reading on that!)

"A rover, a gambler, a libertine, often drunk... Grantaire, with insidious doubt creeping through him, loved to watch faith soar in Enjolras... his soft, yielding, disclocated, sickly, shapeless ideas..." (4.4.1.)

From these descriptions, it is quite clear what sort of opinion Victor Hugo holds of cynics, which is why Grantaire's characterization is so deliberate. He is trying to make a commentary here about the harm those who do not hold passion or belief can do, to both themselves and society. It is why Grantaire's redeeming moment is the one in which he finally comes to accept the hope of the revolution and proves through action his belief in Enjolras.

In terms of what is presented in the brick, Grantaire does not exactly have much to really defend him. Often drunk, he expends his energy into drunk rambles rather than meaningful meeting contributions, (though admittedly, he does say some rather valid and eloquent things within his rambles—the quote "Take away 'Cotton is King,' what remains of America?" [4.4.4] comes to mind) he deliberately pokes and bothers people as seen when he calls Enjolras "heartless," (5.1.6) and when given a task, does not hold up his end of the deal and ger it done despite having asked for it in the first place. Enjolras' doubt in him is actually entirely understandable; after all, what has Grantaire really done to prove himself trustworthy and reliable? When Enjolras asks if "[he is] good for anything" (5.1.6) the question is, likely in his eyes, genuine rather than insulting. And even when he has every reason not to, Enjolras still puts his faith into Grantaire to get something of extreme importance done for him, which I do think says a lot about Enjolras' willingness to believe in the best in people.

Victor Hugo ends the chapter right before we can see Enjolras' reaction to Grantaire's failure, and while this part, I will say, is up for interpretation, personally I have always extrapolated that the most emotion this would draw from him is disappointment—though it is disappointment that he definitely thinks he should have seen coming, rather than imagining him as getting insanely mad at Grantaire.

Their next interaction is during the rebellion itself, during which Enjolras is put under quite a bit of stress and Grantaire's behaviour really is not helping matters, so him snapping is actually very believable, if a little harsh.

The Enjolras seen in fanon, derived from these interactions, always seems so harsh, so rash when he speaks to Grantaire and therefore is characterized as rash and reckless in general, and generally seems to not understand emotion very well, which is very unlike him. Rather than harsh, I would say that with the exception of course of the rebellion at the barricade and the lead up to that time, Enjolras actually seems to be quite calm.

"All held their peace, and Enjolras bowed his head." (4.4.5.)

Rather than instantly explode at Marius for his rather awful beliefs of Napoleon, instead, Enjolras keeps calm and silent, which demonstrates what an incredible depth of patience he has. And as for Enjolras not understanding emotion, when it comes to fanworks, I'm generally tolerant of people holding different perceptions for different characters, but of all perceptions, this one is one I cannot begin to comprehend, and this is one that I will say that to say he knows not of emotion is to have wrongly read his character.

"And a tear trickled slowly down Enjolras' marble cheek." (5.1.8.)

I simply cannot allow myself to believe that the man who cried at the prospect of having to shoot the artillerman, who calls him his "brother," who is no doubt thinking that had circumstances been different, the action he would be taking would not be necessary—I do not believe this is a man who would not understand feelings and emotions.

The Grantaire in the book who has "the dry rot of intellect," (4.4.1) only ever makes unnecessary rants during meetings, and is very much untrustworthy, is a far outcry from the Grantaire who bases his cyncism on being what he would say is being "well informed," often makes valid points in meetings, and proves himself reliable. Similarly, the Enjolras that is thoughful, as he proves himself to be in his "Outlook from the Top of the Barricade" speech, still chooses to believe in the best in others despite being given every reason not to, and is actually quite patient, is very different from his rash and reckless, short tempered, seems-to-hate-Grantaire, fanon counterpart.

Of course, if you take characters who are shaped by their surroundings and circumstances in the nineteenth century and adapt them to fit the scene of the twenty-first century, it's obvious things are going to change! However, I think it's important to keep these key traits in mind when doing so, and more often than not, it is these key traits that end up getting mangled. When one sticks to these traits, it's easy to say Enjolras would be a wondeful friend/boyfriend (if you see him as having one.) Enjolras' whole deal is loving and caring immensely, and to put his absolute one hundred percent effort into everything he does, and that includes into his friendships and relationships.

Once again, I'm not bashing on the fandom here, I'm part of it. I'll repeat again, I too write with the fanon image of Grantaire in my head. Everyone takes away different things from literature, and that's fine! This is simply how I have interpreted it.

One more note on Enjolras.

Les Amis de l'ABC absolutely love Enjolras. The way Enjolras' character has been misinterpreted has ended up having an effect on the way the Amis are looked at as well. The Amis are all so passionate about the revolution, they attend meetings because they truly do believe in the change they can create in their world, so I'll never truly understand the characterization of the Amis as laughing at Enjolras' devotion to the cause, or finding his passion for it stupid or bothersome. Victor Hugo himself describes just how passionate of a group they are:

"All these young men who differed so greatly, and who, on the whole can only be discussed seriously, held the same religion: Progress... The most giddy of them became solemn when they pronounced that date: '89... the pure blood of principle ran in their veins. They attached themselves, without immediate shades, to incorruptible right and absolute duty." (4.4.1.)

Everyone here, with the exception of Grantaire, is here because they believe wholeheartedly in the revolution. This is not something Enjolras forced upon them, this is not something they groan when thinking about, it is something they all believe in so passionately. It is not something they make fun of him for.

"Affiliated and initiated, they sketched out the ideal underground." (4.4.1.)

They are all here by choice, by will, and by the values they hold close to their heart, and so to say Enjolras is someone who constantly whines about his cause and the others think he needs to lighten up is both an insult to him and the rest. Furthermore, the Amis really love Enjolras, and not just as their leader, but as a beloved friend, and as strongly as I believe Enjolras would drop all of his work to help any of the Amis when they are in need, I believe the Amis would do the same for him. The unity of Les Amis de l'ABC says a lot about the kind of charismatic leader Enjolras is, and his friends most definitely adore him.

So yeah, anon, I 100% agree, and rest assured, if they try and take this canon fact away, they'll have to pry it from both our sets of our cold dead fingers.

[boopliette]

Hi! I keep seeing posts about the new West End les mis staging, but all the articles I can find just go off about how "refreshing" it is without actually saying what the changes they made are? Do you know what they've changed? I'm kinda worried about what they might've screwed up lol

So the short answer is that everything is different, it’s an entirely separate interpretation of the show from the original.

It’s not “new” really, it first premiered for the 25th Anniversary Tour, it was the production that went to Broadway and is the current US Tour, its the current UK Tour, it was the one in Madrid a few years back and i Think its the one in Mexico right now but don’t quote me on that - so if you’ve seen any of those, that’s what’s coming to London to replace the original staging.

The major difference is that the new production relies heavily on big sets, and in my opinion that often detracts from the characters. The original production is very minimalist, there’s only like one or two backdrops or large props, and everything else is done in the same box set with bricks and windows on the back wall, and they arrange the two halves of the barricade in different ways to create big set pieces like Paris and the ABC cafe. There’s more focus on the character and it feels more personal, to me at least.

The other main difference is there’s no revolving stage.

I have nothing against the new production though, it’s well suited for touring, because without the revolve you do need something to make up for it. However, it is like, budget Les Mis and it doesn’t hold the same resonance or impact because there’s too much going on and the focus is a bit all over the place. Less is more! The original production is perfect - it’s been running for 33 years for a reason and is down to a fine art by now. It still sells 95% of the seats and people keep coming, and I think changing it now is going to have terrible repercussions in the future.

NOW under the cut imma go into way more detail about some staging differences can, but oh boy that’s gonna go on for a while so don’t suffer through it if you don’t want to (warning: i have a very clear bias)

First of all, the difference between the original and the new production is obvious from the very first second:

On the right is the 2010 tour, where the prisoners are on a huge boat set and they’re rowing or something I don’t really know, but they have big props and set pieces, and on the left is the original (from a 2011 bootleg), where they have imaginary pickaxes, but you feel closer to them, there’s nothing to distract you from them, and sue me I love a good smoke machine

the same thing happens in the factory, in the original (left) Fantine and the workers are clearly the focus (also in the background you have one of the few set pieces, the iron gate later seen in a Heart Full of Love)

this ones just a me problem, but look at the new stagings (right) pitiful little runaway cart, cmon fauchelevent you can get up from that it’s Nothing, the original (left) is huge and imposing and looks more dangerous and i love The Runaway Cart fight me

The original ABC Cafe set (left) is made of rearranged barricade parts and you see them move together and spin around. The new ABC Cafe (right) is made of newspaper and balconies and needs more tables.

I weep for how empty and sad the new One Day More (right) looks.

So a lot of these have been superficial differences but this one is huge. For Gavroche’s death, in the original staging (left, from a 2014 video) Gavroche climbs over the barriacde as it spins around, hiding the students and making Gavroche the sole focus. This is a very powerful scene, and Gavroche feels so alone, its heartbreaking. When the barricade spins back round, we see the students reactions then, with Grantaire front and centre, slowly lwering himself into a chair as he comes to terms with what has happened. In the new staging, because there’s no revolve, Gavroche climbs over the barricade and we stay with the students and see their reactions to hearing Gavroche die. Grantaire is still front and centre, and then he screams. Its meant to be heartbreaking but 9/10 it reminds me of Darth Vader’s awkwards “NOOO” at the end of the prequels. I prefer the original’s understated approach to his grief. Gavroche’s death is important, and not being able to see it takes away a lot of its impact and a lot of the scenes tension.

my absolute favourite moment in the original production (top) is when, after the final battle, the barricade spins around as an orchestral version of Bring Him Home plays the “the summers die one by one” part, and Enjolras is revealed hanging upside down with his flag, Gavroche still on the ground below him. This scene is incredible, I genuinely don’t think there is anything like it. It’s so poignant and impactful and its a very powerful moment that I literally hold my breath for. The new production tho. Oh the new producion. The barricade doesn’t rotate, we’ve covered this. So what do they do? THEY SPLIT THE BARRICADE IN TWO TO SHOW ENJOLRAS AND GAVROCHE IN A WAGON. A WAGON. This wagon is my nightmare. I hate this wagon. This wagon is dead to me. They’re changed the original staging recently so that Enjolras is even more upside down than before, hanging onto the barricade with just one thigh, and its breathtaking. Google it or something, I’m running out of photos.

Okay so the new production (right) ghosts in Empty Chairs aren’t bad, they just have a different effect. In the original (left), the ghosts line up behind him and feel like they’re representations of Marius’s guilt as they walk up to him. They look at him and judge him as he sings “oh my friends, my friends don’t ask me” and then they walk backwards into the shadows again as he finishes the song. In the new staging, they walk in to extinguish candles left by the women in Turning and its just all together more mournful. He looks directly into Enjolras’s eyes as he sings that same line, and then they all blow out the candles and back away from him as he reaches for them. It heightens Marius’s sorrow instead of his anger and guilt, and its not a bad change, its just a different take on the scene. Also at the end of the original Marius raises a toast to his friends and drinks and its bitter and heartbreaking, whilst in the new production he just blows out the candle and its also sad, but not as painful.

MY FINAL ANGRY RANT IS THAT IN THE NEW PRODUCTION (right) THEY’RE NOT HOLDING HANDS. THE LINE IS “TAKE MY HAND” HOW DID THEY MISS THAT??? HOLD HANDS DAMN IT.

other things i ran out of photo space for: 

-the new production has a weird obsession with balconies??? Paris is just balconies, the musain gets a balcony despite being indoors, cosette has a balcony, the thenardiers get a balcony in One Day More, its just too many balconies.-there was a very good post by @cometomecosette explaining how Lovely Ladies loses a lot of its focus and impact in the new production, so I suggest checking that out here for how that scene will change-The new production doesn’t have enjolras and grantaire hugging in Drink With Me and thats a crime-Javert has a gigantic bridge in the new production, its too much bridge for one man-the entrance of the barricade is Iconic in the original production, it blew my mind when I first saw it and I don’t want to spoil that for any one who may see it before July-Marius wears a blue coat and I hate it (costuming is a whole nother issue, if we lose Combeferre wearing two waistcoats, we really just lose ourselves)-Also, just to go back to the WAGON I HATE THAT WAGON-a wagon I don’t hate is the Do You Hear The People Sing? wagon. I shall miss her the most.

I’m salty the end.

Also!! Thanks for getting to the bottom of this, I will be gifting out the 2011 and 2014 West End bootlegs I used for this post to anyone who messages me off-anon about them!  (for you movie fans - the 2011 bootleg has Killian Donnelly as Enjolras and Samantha Barks as Eponine)