#kenneth morris

[the-gershomite]

The Savage Sword of Conan the Barbarian #19 June 1977

cover art by Kenneth Morris

[gregdotorg]

Kenneth Noland gave this 4.75 inch x 9 foot painting to Ahmet and Mica Ertegun, and now you can buy it and give it to someone, too. Morris Louis and all the furniture and accotrements sold separately.

image: the noland and a morris louis in the erteguns' dining room/nook/atrium on the ues. via christie's

[mariocki]

New Scotland Yard: The Come Back (1.2, LWT, 1972)

"This wasn't a sudden impulse. It was deliberate and calculated. He had to break in to get at the old man, and then - well, you saw what he did to him. I don't know if he's a psycho or not, but I do know he's a sadist and I know what treatment I'd hand out."

"Yeah, I can guess."

"It's the only way."

"You've a right to your opinion, just don't try and convert me."

"I wouldn't dream of it, I know what you think."

"I think it's just as well your job ends when we catch him."

[duranduratulsa]

Up next on my 80's Fest Movie 🎥 marathon...Gremlins (1984) on glorious vintage VHS 📼! #movie #movies #horror #comedy #gremlins #joedante #Mogwai #gizmo #zachgalligan #phoebecates #HoytAxton #riphoytaxton #coreyfeldman #dickmiller #ripdickmiller #judgereinhold #FrancesLeeMcCain #johnlouie #PollyHolliday #howiemandel #harrycareyjr #hulkhogan #ChristopherLee #RIPChristopherLee #JohnGlover #TomBergeron #kennethtobey #ripkennethtobey #havilandmorris #MichaelWinslow #robertprosky #riprobertprosky #jasonpresson #vintage #vhs #80s #80sfest #durandurantulsas6thannual80sfest

[kwebtv]

Jonathon Morris, Peter Howitt, Kenneth Waller, Jean Boht, Victor McGuire, Caroline Milmoe, Nick Conway, Gilly Coman and Ronald Forfar in "Bread"

[4ishere]

Watching the righteous gemstones is just realizing even more how absolutely absurd it is that my family believes these types of ppl. It’s also a fun little game figuring out each character’s real life inspiration.

[whats-in-a-sentence]

Two historians (Bin Wong and Kenneth Pomeranz) and a sociologist (Wang Feng) at the University of California's Irvine campus* wrote landmark books arguing that whatever we look at – ecology or family structures, technology and industry or finance and institutions, standards of living or consumer tastes – the similarities between East and West vastly outweighed the differences as late as the nineteenth century.

*Wong left Irvine in 2005, but moved only 40 miles, to the University of California's Los Angeles campus; and Wang had a co-author, James Lee, but he, too, teaches just forty miles from Irvine, at the California Institute of Technology in Pasadena.

"Why the West Rules – For Now: The patterns of history and what they reveal about the future" - Ian Morris

[hotvintagepoll]

this is a poll for a movie that doesn't exist.

It is vintage times. The powers that be have decided to again remake the classic vampire novel Dracula for the screen. in an amazing show of inter-studio solidarity, Hollywood’s most elite hotties are up for the starring roles. the producers know whoever they cast will greatly impact the genre, quality, and tone of the finished film, so they are turning to their wisest voices for guidance.

you are the new casting director for this star-studded epic. choose your players wisely.

Previously cast:

Jonathan Harker—Jimmy Stewart

The Old Woman—Martita Hunt

Count Dracula—Gloria Holden

Mina Murray—Setsuko Hara

Lucy Westenra—Judy Garland (rip)

The Three Voluptuous Women—Betty Grable, Marilyn Monroe, and Lauren Bacall

The Agonized Mother—Mary Philbin (rip)

Dr. Jack Seward—Vincent Price

Quincey P. Morris—Toshiro Mifune

Arthur Holmwood—Sidney Poitier

R.M. Renfield—Conrad Veidt

The Captain of the Demeter—Omar Sharif (rip)

The First Mate of the Demeter—Leonard Nimoy (rip)

Mr. Swales—Ed Wynn (rip)

The Correspondent for The Daily Graph—Ethel Waters

Dracula in dog form—Frank Oz with a puppet

Sister Agatha—Angela Lansbury

Mrs. Westenra—Gladys Cooper (rip)

Dracula's solicitors—Peter Cushing and Christopher Lee

Dr. Van Helsing—Orson Welles

Mr. Hawkins—Donald Meek

Thomas Bilder, the zookeeper—Lon Chaney Jr.

Mrs. Bilder, the zookeeper's wife—Elsa Lanchester

The Reporter from the Pall Mall Gazette—Hattie McDaniel

There is little to say to describe Mr. Marquand, who is only here briefly to describe how the Westenra will leaves everything to Arthur Holmwood. He is described by Dr. Seward as "very genial and very appreciative," and goes a little too much into legal detail considering the reason he turns up in the story. (Lucy and Mrs. Westenra are now dead.)

[windsweptinred]

@mashumaru I hope you don't mind me answering your question here? There was no way this was fitting in the comments section. 😅 So these are what I'd call more Sunday afternoon murder mysteries then gritty crime dramas, as that's what I'm mainly watching at the mo. But if you'd like some darker recs, just let me know.

Anywho...

Midsomer Murders

The ultimate Sunday afternoon watch. Murder most foul, represented artistically in the form of a cream tea. Starring Inspector Barnaby(s), the most teddy bear men ever to exist. Every episode will include chocolate box village eye porn. Murder weapons have included but are not limited to: a cheese wheel, drowned in chocolate, a headless horseman and a steampunk werewolf. It sounds ridiculous but once you start, you won't be able to stop. I promsie you. The horrors: 0/10, though may leave you with a life long phobia of morris dancers and village fetes.

The Morseverse (Endeavour/Inspector Morse and Lewis)

Ah Morseverse, my beloved. The English academic elite does crime. Oxford is it's own splendorous character, with every episode crammed full of towering libraries, awe inspiring architecture and fanatically manicured, college quads. A must watch for those whose hearts belong to dark academia. Endeavour and Morse are set in the 60s/70s and 80s/90s respectively. And follow the same character, Endeavour Morse, from brilliant, blue eyed, troubled twink to brilliant, blue eyed, grumpy old man with a definite alcohol problem. (Never play drink along with Morse, it's a surefire way to get alcohol poisoning.) The baton is then passed to his sergeant, Robert Lewis in Lewis, set in the relative present (as of this post). The relationship between Inspector and Sergeant is what ultimately makes these series, be it Fred Thursday and Morse, Morse and Lewis and Lewis and James Hathaway. And you'll come to treasure them. Be prepared to leave these series with a well earned fictional degree in classical music. Murders CAN and WILL be based on obscure, literary references. The horrors: Well it depends.... I'd say Endeavour is the darkest, Lewis is the lightest with Morse settled nicely in between. If you finish this series not wanting a Jaguar Mark II, you did it wrong.

Vera

Vera Stanhope, my northumbrian queen, my geordie goddess. A middle aged plus woman, with no makeup (or two f*cks to rubs together) decked in a brown hat and mac and driving the world most beaten up land rover.... Owns everyone. And it is sooo satisfying to watch. The scenic southern eye candy of the two previous recs is replaced with the wild, isolated landscapes of the North, very much reflecting our DI. She's joined by sergeant dark and dishy and the ever more put up Kenny Lockhart, as well as host of others. But what really makes this series is Vera herself. As equally formidable as she is kind hearted, with no hint of glamour. She's the kind of female representation we both need and deserve. The horrors: Vera passive aggressively calling vicious murderers 'pet' fixes all world problems. It's scientifically proven.

Things you may have heard of:

Sherlock Holmes, the Granada edition starring Jeremy Brett. No finer Sherlock has ever graced our screens to this day (And yes, I will stand and fight for that statement.) One of the most loyal adaptations of the books ever made.

Poirot, staring David Suchet. No offence to Kenneth Branagh (Your Henry V got me through high-school English lit sir). But David Suchet is THE Prirot for me. Another loyal book adaptation. Over a 25 year period Suchet lived and breathed Poirot and it shows.

If anyone's got any other recommendations please feel free to add them on. I know I've missed a ton! Anywho, I hope that helps me dear. 😁

[gregdotorg]

A great installation of DC artists at the Smithsonian American Art Museum includes [from right] the well-known, like Morris Louis and Sam Gilliam; to the under-appreciated, a haunting nebula-like work by Kenneth Young; to the positively rare-slash-singluar, the only painting by Mary Pinchot Meyer in a public collection. Behind me was a giant Alma Thomas and a sculpture by Meyer's best friend and studiomate Anne Truitt. Meyer was just starting to get attention for her unique approach to color field abstraction at her untimely death in 1964.

[misforgotten2]

No. 19 - June 1977

Cover by Kenneth Morris

[kwebtv]

Bread - BBC One - May 1, 1986 - November 3, 1991

Sitcom (74 episodes)

Running Time: 30 minutes

Stars:

Jean Boht as Nellis Boswell (series 1-7)

Ronald Forfar as Freddie Boswell (series 1 to 1990 Christmas Special)

Peter Howitt as Joey Boswell (series 1 to 1988 Christmas Special)

Graham Bickley as Joey Boswell (series 5-7)

Victor McGuire as Jack Boswell ( series 1-3 / 5-7)

Jonathon Morris as Adrian Boswell (series 1-7)

Gilly Coman as Aveline Boswell (series 1 - 1988 Christmas Special)

Melanie Hill as Aveline Boswell (series 5-7)

Nick Conway as Billy Boswell (series 1-7)

Kenneth Waller as Grandad/William Duvall (series 1-7)

Bryan Murray as Cousin Shifty (series 4 - 1990 Christmas Special)

Pamela Power as Martina (series 1-6)

Eileen Pollock as Lilo Lil (series 3-7)

Joanna Phillips-Lane as Roxy (series 3-7)

Caroline Milmoe as Julie Jefferson (series 1-2)

Hilary Crowson as Julie Jefferson (series 3 - 1989 Christmas Special)

Giles Watling as Oswald Carter (series 4-7)

Rita Tushingham as Celia Higgins (series 4)

Deborah Grant as Leonora Campbell (series 6-7)

Charles Lawson as Yizzell (series 1-4)

Simon Rouse as a friend of Yizzell (series 1-4)

[chicinsilk]

US Vogue February 1974

Actress Lois Chiles wears a navy georgette evening gown, the bodice as sheer as the finest veil over a nude camisole top; the skirt with pleated inserts that burst with every step. Silk Kabat Textile. By Bill Blass. Makeup, Sandra de Kenneth; hair, François du Suga Salon. Accessories: Handbag, Morris Moskowitz, tights, Beautiful Bryans, sandals, Customcraft.

L'actrice Lois Chiles porte une robe de soirée en georgette bleu marine, le corsage aussi fin qu'un voile le plus fin sur un haut caraco nu ; la jupe avec des inserts de plis qui éclatent à chaque pas. De la soie Kabat Textile. Par Bill Blass. Maquillage, Sandra de Kenneth ; coiffure, François du Suga Salon. Accessoires : Sac à main, Morris Moskowitz, collants, Beautiful Bryans, sandales, Customcraft.

Photo Chris Von Wangenheim vogue archive

[tenth-sentence]

Around 1750, he argues, East and West were both heading for ecological catastrophe.

"Why the West Rules – For Now: The patterns of history and what they reveal about the future" - Ian Morris

[cometomecosette]

Standout moments from "Les Mis" recordings, 1991-'92

Once again, this project of mine is inspired by the Wicked Punctum Project by @professorspork. In chronological order, I'm listening to every Les Misérables cast recording or complete audio bootleg and watching every complete filmed performance I can find, and choosing the moment in each one that stands out the most to me.

These two years' worth of performances are slightly dominated by Fantine and Grantaire moments.

1991 Paris Cast Recording

Robert Marien (Jean Valjean), Patrick Rocca (Javert), Louise Pitre (Fantine), Laurent Gendron (Thénardier), Marie-France Roussel (Mme. Thénardier), Stéphanie Martin (Éponine), Jérôme Pradon (Marius), Julien Combey (Enjolras), Marie Zamora (Cosette)

Renaud Marx's solo as Grantaire in "Drink with Me."

It feels a little strange not to cite a moment from one of this recording’s excellent lead singers, like Robert Marien, Louise Pitre, or Jérôme Pradon. But the individual moment that stands out the most is Grantaire’s “Drink with Me” solo. Renaud Marx (a.k.a. the French voice of Shang in Mulan, Bear in Bear in the Big Blue House, Kenneth Branagh as Gilderoy Lockhart, and other Hollywood actors in various movies) sounds more drunk, world-weary and angry in this moment than any other Grantaire I’ve heard so far. Without overdoing it, he fairly snarls about half his words, and the effect is enhanced by the fact that the French lyrics are more bluntly cynical and drunken than the English. (The equivalent of “Will the world remember you when you fall? Could it be your death means nothing at all?” translates as “Life is so short and worth nothing. I burn it in the fire of a good glass of wine.”) Both those lyrics and Marx’s delivery of them captures the spirit of Grantaire’s joking yet bitterly cynical ramblings from the novel, much better than the musical typically does. Leave it to the French to capture that spirit!

Honorable Mention:

*Not an acting or singing choice, but an unintentionally funny lyric in "Stars": the French text that corresponds to "I never shall yield till we come face to face" roughly translates as "I shall not weaken till he is on his knees before me." A little treat for Valvert shippers.

Original Amsterdam Cast Recording

Henk Poort (Jean Valjean), Ernst Daniel Smid (Javert), Pia Douwes (Fantine), Paul de Leeuw (Thénardier), Simone Kleinsma (Mme. Thénardier), Vera Mann (Éponine), Danny de Munk (Marius), Bill Van Dijk (Enjolras), Joke de Kruijf (Cosette)

Peter de Smet’s “It’s better than an opera!”

This cast recording is generally middle-of-the-road compared to others, but it does have its charms, and one that’s small yet memorable is Grantaire’s “It’s better than an opera!” (Or rather its Dutch equivalent.) Peter de Smet slightly embellishes the word “op-e-ra” and sings it in a rich, “operatic” voice. In the scheme of things, it’s a minor moment, but it’s funny and cute. I’ve never heard another Grantaire sing that word in quite the same way, even though in hindsight it seems like an obvious vocal choice. I suppose it works because Peter de Smet has a rich, dark baritone voice to begin with, which can sound genuinely operatic at times. (He understudied Javert in this production, and a bootleg exists with him in the role: his rendition of “Stars” has been uploaded onto YouTube.) Obviously, not all other Grantaires share that vocal quality, and if they don’t have it, then they can’t play it for momentary laughs in the same way.

1991 US 1st National Tour proshot video

Gary Morris (Jean Valjean), Richard Kinsey (Javert), Susan Gilmour (Fantine), Drew Eshelman (Thénardier), Rosalyn Rahn (Mme. Thénardier), Susan Tilson (Éponine), Peter Gunther (Marius), Pete Herber (Enjolras), Gretchen Kinglsey (u/s Cosette)

Gary Morris's grief for Fantine.

This high-quality proshot is a truly outstanding glimpse into the early years of Les Mis in America. For me, it’s especially exciting to see Gary Morris’s Valjean after years of hearing him on the Complete Symphonic Recording: despite my mixed feelings about his singing, I now realize how passionate and engaging his acting performance was. In this performance, the moment that stands out the most for me is his abject anguish when Fantine dies. Most Valjeans I’ve seen have just solemnly bowed their heads over her body, but Morris breaks down completely, sobbing silently into her chest. His grief continues through “Confrontation,” where his voice breaks on “And this I swear to you tonight…” and into “The Bargain,” where his loud, sharp delivery of “Now her mother is with God” (which has always surprised me on the Complete Symphonic Recording, since most Valjeans sing it softly and gently) conveys how raw his emotion still is about her passing. I’ve never seen a Valjean do this before.

Honorable Mentions:

*Susan Gilmour’s Fantine at the end of “Lovely Ladies.” Most other actresses play “Come on, captain…” as if there’s been a time skip of several weeks or months since Fantine first turned to the streets, and she’s now somewhat hardened. But Susan plays it as if it’s literally her first time soliciting a customer, and she seems pitifully frightened and on the verge of tears as the pimp pushes her toward the man.

 *Drew Eshelman’s Thénardier sniffing the air before he turns to greet the new traveler on “Welcome, M’sieur…” at the beginning of “Master of the House.” As if he’s so animalistically greedy that he can smell new customers… or possibly their money, which would bring more literal meaning than usual to “I smell profit here!” and “Money is the stuff we smell!”

*In "The Robbery," Morris's Valjean successfully hurls the gang members away from him before Javert arrives. He may be old at this point, but he's still strong!

*In “Attack on Rue Plumet,” Daniel Guzman’s Montparnasse tries to kiss Éponine on the lips after his solo verse, and when she pushes him away, he blows her a kiss anyway.

*Later in “Attack on Rue Plumet,” Susan Tilson’s Éponine knees Thénardier in the nether regions! In return she gets a punch and a slap from him, but still, good for her!

*Richard Kinsey’s Javert sobbing on “And the stars are black and cold…” Apart from David Oyelowo in the BBC miniseries, which of course isn’t the musical, I’ve never seen another Javert cry during his suicide scene!

1991 London video bootleg

Stig Rossen (Jean Valjean), Paul Leonard (Javert), Jenna Russell (Fantine), Martyn Ellis (Thénardier), Sue Kelvin (Mme. Thénardier), Meredith Braun (Éponine), Darryl Knock (Marius), Mike Sterling (u/s Enjolras), Sarah Jane Hassell (Cosette)

Enjolras and Grantaire’s unhappy interaction in “Drink with Me.”

So far this is the first filmed performance to have any significant interaction between Enjolras and Grantaire after Grantaire’s “Drink with Me” solo. After Grantaire (whose actor is uncredited, though according to Ovrtur.com it was probably Andrew Hesker) sings an especially belligerent solo that ends with him standing in front of Enjolras, he bitterly laughs in Enjolras’s face, then offers him his wine bottle. But Mike Sterling’s Enjolras pointedly drinks from Feuilly’s jug instead – “the wine of friendship,” not the wine of cynicism. Then he stands and stares at Grantaire for several moments, and vice-versa. I only wish the video quality weren’t abysmal, so I could see their expressions. But finally, Grantaire sits down in despair. Enjolras seems to soften, approaches him, and puts his hand on his shoulder, but Grantaire angrily pushes it away. Not a pleasant moment on either side, but poignant. Especially because it’s their last interaction. They don’t get to reconcile in “The Final Battle”: Grantaire sits lost in a stupor until suddenly he sees Enjolras die, then screams a heartbreaking “NOOOO!!” and dashes up the barricade to his own fate.

Honorable Mentions:

*The desperation of Jenna Russell’s Fantine as Javert rejects her pleas in “Fantine’s Arrest.” She sobs audibly, clinging to Javert’s boots until he pulls away and causes her to fall, then wails “Coseeette!!” as the two constables seize her.

*The first meeting of Darryl Knock’s Marius and Sarah Jane Hassell’s Cosette in “The Robbery.” They both fall down when he crashes into her, which is funny and cute. But I also like what Sarah Jane does afterwards. In most performances I’ve seen, Valjean comes over and hustles Cosette away from Marius, establishing him as a protective and possessive father; that’s all well and good. But here, Cosette is the one who shyly breaks eye contact with Marius and goes to find Valjean. A believable choice for a sheltered young girl who’s never felt romantic love or attraction before. Yet she can’t resist stealing backward glances at Marius throughout the next few moments until the gang attacks.

1992 Scheveningen video bootleg

Henk Poort (Jean Valjean), Ernst Daniel Smid (Javert), Pia Douwes (Fantine), Door Van Boeckel (Thénardier), Irene Kuiper (Mme. Thénardier), Marika Lansen (Éponine), Danny de Munk (Marius), Bill Van Dijk (Enjolras), Joke de Kruijf (Cosette)

Enjolras consoling Grantaire during “Drink with Me.”

This is the original Dutch production, with most of the same cast as the Amsterdam Cast Recording, although by this time the show had transferred to Scheveningen. It’s also the second performance in my watch-through where “Drink with Me” has significant Enjolras/Grantaire interaction after Grantaire’s solo… and it’s the first where that interaction is tender. Granted, it doesn’t start out that way. Like their London counterparts, at first Peter de Smet’s Grantaire offers his bottle to Enjolras, but Bill Van Dijk’s Enjolras rejects it and drinks from Feuilly’s jug instead. (I think that must have been direction at the time, since it was also done in London and Madrid.) But afterwards, Grantaire crumbles in complete despair, gulping from his bottle and burying his head in his arms, and Enjolras seems to regret his harshness as he looks at him. Finally, Enjolras crouches down, puts a consoling arm around Grantaire, and pats his back. It’s not quite a hug, but it’s most definitely a warm, tender moment.

Honorable Mentions:

*In “At the End of the Day,” after the Foreman reads Fantine’s letter, instead of either keeping it or just disdainfully handing it back to her, he rips the letter up, then hands her back the pieces.

*Pia Douwes’ Fantine goes completely feral in “Fantine’s Arrest.” After she scratches Bamatabois, two other ladies try to hold her back, but she fights to break free from them and lunge at Bamatabois again, until he comes back over and knocks her to the ground with his stick.

*Henk Poort is the first Jean Valjean in my chronological watch-through to boop Cosette’s nose. He does it to little Cosette on “…to take Cosette away,” and to her older self in his death scene, on “…I will try.” I don’t know if he was the first Valjean in the world to do it, but he’s the first one I’ve seen do it so far, and he certainly won’t be the last!

*In “Look Down,” at the side of the stage during the final chorus, Marika Lansen's Éponine has what looks like a vicious argument with her parents, in which Thénardier grabs her menacingly only for her to push him away.

*Joke de Kruijf’s Cosette leaps to her feet in shock when Marius appears in the garden in “A Heart Full of Love,” flailing her arms. For the most part her Cosette is a very proper, reserved, and graceful lady, but every now and then she shows hints of an excited and passionate young girl beneath that façade, and nowhere more so than in this moment of physical comedy.

*As Valjean is opening the sewer grate, Danny de Munk’s Marius languidly rolls over before fully losing consciousness again, making it absolutely clear to the audience that he’s alive.

Original Prague Cast Recording

Jan Jezek (Jean Valjean), Marcel Kucera (Javert), Helena Vondráčková (Fantine), Jiří Korn (Thénardier), Petra Janů (Mme. Thénardier), Lucie Bílá (Éponine), Pavel Polák (Marius), Tomáš Trapl (Enjolras), Katerina Krejcová (Cosette)

Lucie Bílá’s interjections in “A Heart Full of Love.”

It wasn’t easy to find a specific standout moment in this recording, since again, it’s just a highlights recording, and I can’t comment much on the singers’ delivery of their lines because I don’t understand a word of Czech. But I finally settled on Éponine’s interjections in “A Heart Full of Love,” as sung by the famous Czech pop singer Lucie Bílá, who took on the role in this production. Despite the language barrier, the emotion of those lines comes across clearly, and she doesn’t opt for the gentle, wistful sadness that many Éponines do at this point. The pain in her voice is raw. It contrasts perfectly with Marius and Cosette’s innocent happiness, and since these lines serve as her first on this recording, they serve as the perfect introduction to Éponine’s unrequited love.

Original Madrid Cast Recording

Pedro Ruy-Blas (Jean Valjean), Miguel del Arco (Javert), Gema Castaño (Fantine), Joan Crosas (Thénardier), Connie Philip (Mme. Thénardier), Margarita Marban (Éponine), Carlos Marin (Marius), Enrique R. del Portal (Enjolras), Luisa Torres (Cosette)

Angela Muro as the Factory Woman.

This is only a 17-track highlights recording, but like the similarly short Stockholm Cast Recording, it still has its standout moments. For me, the one that stands out the most is the Factory Girl’s (Spanish equivalent of) “And what have we here, little innocent sister?” in “At the End of the Day.” The lines are transposed down and Angela Muro sings them with a deep, slightly raspy alto voice, not the high, thin voice that other productions give the character. She sounds worldly, mature, and jaded… like a married woman having an affair with the Foreman on the side, just as Fantine implies she is. This is reinforced by the cast list, which credits her as "Mujer de la Fabrica," Factory Woman, rather than directly translating the English version and calling her "Chica de la Fabrica." And when Gema Castaño’s Fantine sings “Give that letter to me…”, higher and lighter-voiced rather than the opposite, she sounds younger and more vulnerable than her nemesis. Not that I’m opposed to a Factory Girl with a high and youthfully catty voice, or a deeper, more motherly voice for Fantine, but this different approach is effective.

1992 Madrid video bootleg

Pedro Pomares (u/s Jean Valjean), Miguel del Arco (Javert), Gema Castaño (Fantine), Paco Lahoz (u/s Thénardier), Connie Philip (Mme. Thénardier), Kirby Navarro (u/s Éponine), Carlos Marin (Marius), Enrique R. del Portal (Enjolras), Luisa Torres (Cosette)

Gema Castaño’s terror in the hair-sale segment of “Lovely Ladies."

As in the cast recording, the standout moment highlights the youthful vulnerability of Fantine. Gema Castaño was the youngest actress to have played Fantine at the time (only nineteen, if I’m not mistaken) and her Fantine is heartbreakingly girlish and overwhelmed. In “Lovely Ladies,” when the Crone aggressively comes after her, fondles her hair, and insists on buying it, she’s truly terrified. She runs frantically away, then stumbles and falls to her knees, trying in vain to shield herself from the crazy woman, and finally she half-shrieks the most desperate, raw, panicked “Don’t touch me! Leave me alone!” (or rather its Spanish equivalent). With other Fantines, that brief resistance to selling her hair can seem like a moment of vanity. But in this case, we can’t help but feel for such a frightened young woman being harassed by a stranger. And when she finally yields to the harassment and sacrifices her hair for Cosette, it’s heartbreaking.

Honorable Mentions: 

*Pedro Pomares’ Valjean taking off his prison cap on “Yes, it means I’m free.” In other performances I’ve seen, either the guards remove Valjean’s cap when they bring him to Javert, or else he has no cap, setting him apart from the other convicts from the start. But here, he takes off the cap himself as an assertion of his new freedom.

**Jordi Fusalba I Carreras is the first Grantaire in this chronological watch-through to use a prop – the wine bottle – for an erection gag on “…Don Juan!” He certainly won’t be the last!

*Another detail from Jordi's Grantaire – he hugs Éponine at the end of "Do You Hear the People Sing?" Éponine finds him staggering drunk behind the other students and mimes asking him where Marius is (a staging choice I always love when I see it, for “recognition of the self in the other” reasons), and he gives her a quick hug before going to get him! Now, I’m not sure if the wine has just made him effusive enough to hug any girl, or if it implies that this version of Grantaire is acquainted with Éponine (through either Marius or Gavroche, I assume) and fond of her. I’d like to think the latter, for its fanfic potential.

*Miguel del Arco’s soft, sinister “Valjean take care, I’m warning you” (or rather its Spanish equivalent). I’m used to hearing Javert break into vicious rage on that line, as if this is where his mind starts to crack. But this Javert is still in control of himself: he still thinks he knows what Valjean is doing (trying to make a deal with him) and warns him against it with quiet calm.

*In “Drink with Me,” Feuilly, Prouvaire and Joly share a three-way handshake on “…and here’s to you.” Just a simple and heartwarming friendship moment between them.

*Luisa Torres’s Cosette at her wedding. She’s no favorite Cosette of mine – her voice is slightly sour and plain – but she acts the role well. At the wedding, she doesn’t just go through the standard motions of “kneel, kiss, dance,” but pantomimes a blissful conversation with Marius, in which she looks aglow with joy and seems to be chattering a mile a minute. It’s especially striking because she was such a shy, modest young girl in Act I; as a bride, she blossoms.

[book--brackets]

Summaries under the cut

The Candymakers by Wendy Mass

Four children have been chosen to compete in a national competition to find the tastiest confection in the country. Who will invent a candy more delicious than the Oozing Crunchorama or the Neon Lightning Chew?

Logan, the Candymaker's son, who can detect the color of chocolate by touch alone?

Miles, the boy who is allergic to merry-go-rounds and the color pink?

Daisy, the cheerful girl who can lift a fifty-pound lump of taffy like it's a feather?

Or Philip, the suit-and-tie wearing boy who's always scribbling in a secret notebook?

This sweet, charming, and cleverly crafted story, told from each contestant's perspective, is filled with mystery, friendship, and juicy revelations.

Tom's Midnight Garden by Philippa Pearce

When his brother catches measles, Tom is sent away for the summer to stay with his uncle and aunt and is thoroughly fed up about it. What a boring summer it's going to be. But then, lying in bed one night, he hears the old grandfather clock in the hall strike the very strange hour of 13 o'clock. What can it mean? As Tom creeps downstairs and opens the door, he finds out...a magical garden, a new playmate, and the adventure of a lifetime.

Things Not Seen by Andrew Clemens

Bobby Phillips is an average fifteen-year-old boy. Until the morning he wakes up and can't see himself in the mirror. Not blind, not dreaming. Bobby is just plain invisible...

There doesn't seem to be any rhyme or reason to Bobby's new condition; even his dad the physicist can't figure it out. For Bobby that means no school, no friends, no life. He's a missing person. Then he meets Alicia. She's blind, and Bobby can't resist talking to her, trusting her. But people are starting to wonder where Bobby is. Bobby knows that his invisibility could have dangerous consequences for his family and that time is running out. He has to find out how to be seen again before it's too late.

Five Children by E. Nesbit

The five children find a cantankerous sand fairy, a psammead, in a gravel pit. Every day 'It' will grant each of them a wish that lasts until sunset, often with disastrous consequences.

Once by Morris Gleitzman

Everybody deserves to have something good in their life. At least Once.

Once I escaped from an orphanage to find Mum and Dad.

Once I saved a girl called Zelda from a burning house.

Once I made a Nazi with a toothache laugh.

My name is Felix. This is my story.

The Chronicles of Ancient Darkness by Michelle Paver

Six thousand years ago. Evil stalks the land. Only twelve-year-old Torak and his wolf-cub companion can defeat it. Their journey together takes them through deep forests, across giant glaciers, and into dangers they never imagined.

In this page-turning, original, and spectacularly told adventure story, Torak and Wolf are joined by an incredible cast of characters as they battle to save their world, in this first book in the Chronicles of Ancient Darkness.

All-of-a-Kind Family by Sydney Taylor

It's the turn of the century in New York's Lower East Side and a sense of adventure and excitement abounds for five young sisters - Ella, Henny, Sarah, Charlotte and Gertie. Follow along as they search for hidden buttons while dusting Mama's front parlor, or explore the basement warehouse of Papa's peddler's shop on rainy days. The five girls enjoy doing everything together, especially when it involves holidays and surprises. But no one could have prepared them for the biggest surprise of all!

Matt Cruse by Kenneth Oppel

Matt Cruse is a cabin boy on the Aurora, a huge airship that sails hundreds of feet above the ocean, ferrying wealthy passengers from city to city. It is the life Matt's always wanted; convinced he's lighter than air, he imagines himself as buoyant as the hydrium gas that powers his ship. One night he meets a dying balloonist who speaks of beautiful creatures drifting through the skies. It is only after Matt meets the balloonist's granddaughter that he realizes that the man's ravings may, in fact, have been true, and that the creatures are completely real and utterly mysterious.

A Tale Dark & Grimm by Adam Gidwitz

In this mischievous and utterly original debut, Hansel and Gretel walk out of their own story and into eight other classic Grimm-inspired tales. As readers follow the siblings through a forest brimming with menacing foes, they learn the true story behind (and beyond) the bread crumbs, edible houses, and outwitted witches.

Fairy tales have never been more irreverent or subversive as Hansel and Gretel learn to take charge of their destinies and become the clever architects of their own happily ever after.

Upon a Marigold by Jean Ferris

Christian is gaga for Princess Marigold. But he's just a commoner, and no match for royalty. Heck, he lives in a cave with a troll! And now he's discovered another reason to put his love-soggy heart on Queen Olympia is scheming to take over the kingdom--and she'll bump off her own daughter to do it. Can Christian foil her diabolical plans?