Celebrate Musicals Week: The Original Cast Recording (1986)

With all the fuss I'm making this week over Phantom of the Opera, particularly my favorite version (25th anniversary), it seems only fair that I spend at least a little time talking about the show that got it all started.  So this is a review of sorts for the Original Cast Recording (also known as the Original London Cast), featuring the singers who created the iconic roles: Michael Crawford, Sarah Brightman and Steve Barton.

First of all, I want to stress that though I am really not much of a fan of Sarah Brightman or Steve Barton, I don't wish to offend anyone who is.  Everyone is entitled to an opinion, and though my opinion may not be the same as yours, I respect yours and am quite interested to hear it if you care to leave a comment.  I will also do my utmost to state it without being rude or snarky.

Well... not too snarky.

I do have to have a little bit of snark, y'know.  Just a little.  A tidbit.  We'll make a deal.  I'll use as much snark as Sarah Brightman uses emotion, okay?

...Drat.  I don't like being severely limited.

AHEM.  Let's get on with this.

Michael Crawford created the role of the Phantom, and for many people he is THE Phantom.  I have to be really careful what I say about him on here, because if I bash him even the tiniest bit, a certain friend of mine-- who keeps a picture of MC in her refrigerator but shall remain nameless for the sake of her (and her refrigerator's) privacy-- will be Very Angry with me.  

However, I'm not inclined at all to bash Michael Crawford.  He might not be my favorite Phantom (we're Ramin Karimloo fans all the way around here) but he still has a fabulous voice.  It's just the right blend of creepy and caressing, very gentle yet very powerful.  (My sister-- who shall remain nameless for her own safety-- doesn't like it at all.  She says he sounds scary.  I maintain that he's SUPPOSED to sound scary at least part of the time, and when he's not sounding scary he's sounding beautiful.  We... er...  disagree on the subject.)  I love the way he makes everything he sings sound so effortless-- it's like he's just floating on the music.  Even during the angry parts, his voice manages to soar so smoothly.  It gives me chills (the good kind).  Michael Crawford might not be quite the same vocal powerhouse as Ramin Karimloo (not so big and bold and rich), but his Phantom was the first, after all, and he set the bar for every performer that came after him.   I'm not saying that the first person in a role is necessarily the best.  I'm just saying he set the standard, and if he hadn't made the part so great in the first place, POTO would never be the success it is today.

Sarah Brightman, on the other hand... sigh.  My feelings are mixed.  She really does have a good voice, and some of her high notes are perfectly lovely.  But she doesn't put any emotion whatsoever into her singing, and what I've seen of her acting seems wooden and weird.  If we're going to talk about scariness in POTO, then we should talk about Sarah Brightman, not Michael Crawford.  Her face is pretty much perfectly expressionless, except when she's staring into your soul, when she looks like an evil doll come to life or something.

...Oops.  Overdoing the snark there.

At any rate, I really do like her voice in some parts, from a technical standpoint, (and she CAN be really beautiful when she's not making weird faces-- see picture above) but overall she is definitely my least favorite Christine.  Even Emmy Rossum put a little more oomph into the part as far as acting went.  (More on Emmy Rossum tomorrow.  You didn't think I was skipping over the 2004 movie during this week, did you?)

Steve Barton as Raoul also has a technically good voice, but his performance comes across as stilted and completely devoid of feeling.  Now, I've never seen any videos of him as Raoul, and I'm well aware that you can't necessarily judge an actor just by how they perform on a cast album.  That said, I firmly believe that a truly good performer in musical theatre has to be able to act with his voice as well as with his face and body.  I mean, hello, that's what it's all ABOUT-- telling a story through music.  This is why I'm such a huge fan of the Les Mis TAC--  the actors/singers in that production did such a phenomenal job of telling the story so beautifully and richly with very minimal opportunities to act outside of their singing as they did so.

Am I the only one who thinks we need a good, all-encompassing word that describes people who sing and act in musical theatre?  Some sort of combination of "singers" and "actors," maybe-- but "sictors" doesn't sound good at all, and "angers" is worse.  Suggestions?

All right, now, let's have a look at a few (not all, we haven't got unlimited time here) of the songs on this album.  "Think of Me" is really beautifully done-- I like Sarah Brightman's cadenza at the end, and her voice is very pristine and perfect throughout.  No expression, of course, but we covered that already.  Storyline aside, it's nice to listen to.  However, Raoul's part kinda drives me nuts.  You can see the original lyrics in the picture above, and I for one am SO glad they've changed them since then.  (Of course, the joke goes that Andrew Lloyd Webber changes the "Think of Me" lyrics every time he changes his socks, but still...)  It's not exactly nice to meet your best friend from childhood after a lapse of ten years or whatever and let the first thing out of your mouth be something about what a gawkish girl she was.  Really, Raoul?  Really?  Compliment her poise now all you like, but don't make rude remarks about what she used to be.

And no, that's not Steve Barton in the picture above-- it's Michael Ball, because I liked the picture and didn't care that the original Raoul wasn't in it... wait, what am I saying?  Am I apologizing for having a picture of Michael Ball as Raoul on my blog???

Obviously I didn't get enough sleep last night.

Here you can see "Phantom of the Opera" and "Music of the Night" performed by Michael Crawford and Sarah Brightman at the 1988 Tony Awards (and yep, that's Angela Lansbury introducing them!).  It's really poor quality, I'm afraid, but was the best I could find on YouTube-- there's a higher-quality video out there, but the sound and picture don't match up.  I really like MC's performance of "Music of the Night" here, but Sarah Brightman's zombie-like movements and strange grinning during the  "I Remember" snippet are kind of freaking me out.  Thoughts, anyone?

"Notes" has to be one of my favorite tracks on this album.  Sadly, I don't have a picture of John Salvident and David Firth hamming it up, so take this nice image from "Angel of Music" instead.  This version was my first introduction to the song (I heard it on Pandora one day and became hooked), and I had no idea that POTO could actually be... funny.  I promptly fell in love with the number and still snicker over certain favorite lines.  "Andre, please don't SHOUT."  Oh, and my sister Anne-girl and I are quite good at this song, if I do say so myself.  She's Firmin.  I'm Andre.  It almost never changes.  :D And then I'm Carlotta and she's Raoul.  We do it all very dramatically.

Sarah Brightman and Steve Barton do a fabulous job with "All I Ask of You," and it's really beautiful to listen to... but you know what I'm going to say by now, don't you?  There's nothing truly memorable about it.  It's just a song.  It's lovely, yes, but there's no feeling in the words, and frankly I think Sarah Brightman gets a little screechy near the end.  As my best friend's brother put it, she has an extremely... unique... style of singing, especially in this song.  It's good, though, because then you know it's her right away and you can turn it off.

I'm sorry, I'm sorry, I'll stop.  

Soon.

"Notes II/Twisted Every Way" is one of my favorite POTO songs, but this version just makes me cringe.  It's probably Sarah Brightman's worse song on the album-- I mean, seriously, Christine's supposed to be terrified and angry at this point, and Sarah Brightman just kind of tiptoes through the lyrics without seeming to really care about what she's saying.  "Raoul.  I'm frightened.  Don't make me do this. Raoul.  It scares me.  Don't put me through this ordeal by fire he'll take me I know we'll be parted forever he won't let me gooooo..."  (Yes, the lack of punctuation in that last line is on purpose.)

As for Steve Barton... come ON, dude.  You probably didn't mean to, but do you realize you kind of made a prototype for Every Wimpy Raoul Ever?  You can't scare the Phantom with a whisper.  I mean, that wasn't even a creepy whisper.  "So.  It is to be war between us.  But this time, my clever friend, the disaster will be... yours... I mean, if you're okay with that."

Okay, so all you Sarah fans who have been tsk-tsk-ing at me through this whole post can finally be satisfied, because I LOVE her version of "Wishing You Were Somehow Here Again."  She isn't as emotional as Sierra Boggess (what a SHOCK) but I think she does manage to make the song very haunting and wistful, and the result is quite lovely to listen to.  I really, really like this song-- it was the first one from POTO I ever heard, and in fact I bought it (this version) from iTunes before I even really knew the rest of the story.  It's still one of my top three favorites.  

I have really mixed feelings about Final Lair.  On the one hand, Michael Crawford is absolutely superb.  He plays the whole scene in a heartbreaking way, and though I think I prefer Ramin Karimloo's screaming of the line, the way Michael Crawford whispers, "Christine, why... why?" still gets me every time.  Steve Barton does a passable job-- not half as good as Hadley Fraser or Killian Donnelly, though certainly better than Patrick Wilson (cough). His "I fought so hard to free you," is great, I'll admit.  Sarah Brightman, on the other hand, is kind of... blah.  Until we get to The Kiss moment.  Because I seriously haven't seen a Christine yet who didn't pull that off with flying colors.  That verse is just gorgeousness and I haven't yet heard it sung badly.

Fun fact: I read on a trivia site that the second kiss between Christine and the Phantom was not actually scripted.  In an early performance, Michael Crawford's prosthetic lip got stuck to Sarah Brightman's face during the first kiss, and as she moved back he saw it there and panicked, so he pulled her back in for a second kiss to stick it back on and the People Who Decide These Things liked it so much that it was written into the script.  I can't vouch for the authenticity of this tidbit, however.  But it's still a funny story.

And the closing lines the Phantom sings... chills.  Chills every time. Michael Crawford is AMAZING.

Overall, I really do like the Original Cast Recording.  It features some practically flawless singing, an almost unmatchable performance on Michael Crawford's part, and some superb talent from the managers, Carlotta, Meg, etc.  (I didn't mention Carlotta or Meg in here, but they were really good.  :D)  Christine and Raoul leave something to be desired, but hey, there are literally dozens of other performances to listen to/watch (hooray for Youtube, heehee) if you don't like these portrayals.  25th anniversary, anyone... ?

Miss Bates' Twelve Days of Christmas

I have seen Les Mis.  Live and in person.  I am still fumbling and collecting my thoughts and doing my best to compose an account of the experience THAT IS NOT ENTIRELY WRITTEN IN ALL CAPS WITH EXCLAMATION POINTS!!!!!!!!!!! so it may be a while before you hear very much about it.

Suffice to say that it was very nice indeed.  (And I do not refer to the binding of the book.)
Oh, very well, splendiferofantabulous, if you prefer a more expressive word.
;)

Anyways, I have a little piece of randomness to share with you today-- a scrap of verse composed back in October and tucked away in a notebook "for my blog at Christmastime."  Heh. Well, I forgot all about it at Christmastime, and Christmas is most decidedly over now, but I can't make myself wait until December rolls around again, so here is a Regency Christmas carol at the wrong time of year.  Deal with it.

Ladies and gentlemen, Miss Hetty Bates of Jane Austen's Emma has been so kind as to submit her version of The Twelve Days of Christmas for your perusal.  She was interrupted midway through, which is a mercy which means the carol only includes days one through five, but I think you will get the idea.  Do bear in mind that attention to meter and to the main idea are not her strong points, please... but with those things remembered, I think you may enjoy this.

On the first day of Christmas, Mr. Knightley sent to me (not to me only, but to Mother and also Jane--how pleasant it is that Jane could come for Christmas!) a barrel of apples from his very own tree.  (And lovely apples they were, too-- LOVELY, MOTHER-- and so kind of Mr. Knightley to consider Jane's health! Apples are so beneficial to the health, you know.)

On the second day of Christmas, Mr. Knightley sent to me (and to Mother and Jane, of course) two horses (and a carriage, how very generous!) to take us to the Coles' party.  (And what a splendid time we had there, to be sure, and Jane was so admired!*)

On the third day of Christmas, Mr. Knightley sent to us (dear me, it does not seem to rhyme quite so well when I alter it for accuracy.  It is a pity Jane has gone to the post office, for she would know how to put it right!) three quarters of pork (PORK, Mother!) and a servant to put them in the pantry.  (Naturally the servant was not a part of the gift-- oh, no, he returned to Donwell Abbey after performing his duties-- but he was so courteous and obliging while he was here, and such beautiful hindquarters of pork!)

On the fourth day of Christmas, Mr. Knightley sent to me (dear me, I do believe I had better leave it as it was originally, though it is not so correct as it might be) four invitations to Donwell Abbey (to go strawberrying, you know-- and though there are but three of us, it was so thoughtful of him to consider that we might wish to bring a guest! I have suggested to Jane that she might wish to invite one of her friends from Ireland-- perhaps the gentleman Mr. Dixon who so heroically saved her life, but she seems disinclined to do so.)

On the fifth day of Christmas, Mr. Knightley sent to me (ah, I have remembered! Today is Thursday and Miss Woodhouse will call and perhaps she can give me an answer regarding this puzzling dilemma betwixt fact and rhyme!) five golden pears (picked from his own orchards, too, think of that-- ORCHARDS, MOTHER!)!  Four invitations (so thoughtful) three quarters of pork (so kind), two horses and carriage (really he is quite an angel-- ANGEL, MOTHER!), a barrel of fine apples-- and here comes Mr. Knightley! (Do excuse me, I must go and thank him straightaway, and here is Miss Woodhouse too, what a very merry party we shall be...)

*Yes, yes, yes.  This is a Mrs. Bennet quote from P&P95.  I am well aware of that.  But it just fit so nicely that I simply could not resist.

The Music of a People: The Songs of Les Miserables - Part Two

{In case you missed it, hop over here and read part one.}

Do You Hear the People Sing-

Do You Hear the People Sing? - Enjolras and company

Eeep! This song reminds us just how much we love Ramin Karimloo - er, we mean Enjolras. "Do You Hear the People Sing" could be called the theme of Les Miserables. In a way, it pretty much sums up the entire story. Enjolras and his friends sing it once, and then this fabulous song ends the entire concert, with the entire company belting out their hearts, inviting us to join their crusade.

The first time we hear this song, we fairly melt with awe. Enjolras sings with such passion and intensity as he speaks of freedom and unity. "Do you hear the people sing, singing the song of angry men. It is the music of a people who will not be slaves again!"

Yes.  We agree.

We simply cannot get over Ramin Karimloo from the 25th as Enjolras. He's everything we could have ever imagined Enjolras to be. His portrayal of Enjolras is so intense that we truly do want to join in his crusade, be strong, and stand with him.

In My Life-

We are seriously, seriously annoyed by Judy Kuhn’s performance (10^th) in this song.  Her voice is quite beautiful, but she shows little or no emotion as she sings her only sorta-solo, and we’re left with a feeling of disappointment.  (And is it just us, or do other people keep expecting her to burst into “Just Around the Riverbend” when she sings “So many things unclear… so many things unknown”?) Katie Hall (25^th), on the other hand, does an excellent job of making Cosette—dare we say it?—almost likable in this song. 

Unfortunately, Katie Hall’s performance is tainted somewhat by the appearance of Guess Who.  Nick Jonas’s voice is disgustingly weak in this song, but it’s his never-changing facial expression that really bugs us.  He’s supposed to be fantasizing about the girl he loves (and has loved for three entire hours) but instead he looks like someone punched him in the stomach.  And though Michael Ball does an excellent job, this song (and the one following) are two in which we heartily dislike Marius no matter who’s playing him.  Temporarily, that is.

In My Life - Cosette, Eponine and Marius.  Sob.

However, Samantha Barks saves the song with her incredible acting.  Lea Salonga’s voice is incomparable in 10^th, but Samantha Barks completely owns this song.  We’re left with huge lumps in our throats when she stares brokenly after Marius as he goes to join Cosette.  “In my life, there’s been no one like him anywhere, anywhere where he is.  If he asked… I’d be his.”

A Heart Full of Love-

A Heart Full of Love - Marius and Cosette (10th)

WehateMarius, wehateMarius, wehateMarius, wehateMarius...

Okay, okay, maybe not hate exactly, but it's hard not to when he's being such a shallow coxcomb at this part. "A Heart Full of Love" is actually a sweet song, but Marius and Cosette both are so enraptured with each other after just one incidental meeting that it's almost cheesy. But those kinds of thoughts immediately dissipate as soon as Eponine steps into the picture. Her hopelessness and despair instantly makes the song absolutely gorgeous, heartrending and tear-worthy. Marius and Cosette are proclaiming their undying love for each other with Eponine watching from the background. It's awful. And then in the 25th, Marius and Cosette kiss at the end. Right. In. Front. Of. Eponine. We truly most sincerely despise Marius at that point.

We really like both versions of this song. Of course, the 10th stars Michael Ball, and Michael Ball is Michael Ball, no matter what sort of lovestruck imbecile he's playing. Judy Kuhn as Cosette is pretty annoying, although she sure can sing. Lea Salonga as Eponine, well, there's no need to continue those ravings, right? From the 25th, we love Katie Hall's performance as Cosette. She almost makes Cosette likable (emphasis on almost). And Samantha Barks as Eponine just kills us. Her pained facial expressions are perfect; she almost looks like someone stabbed her in the gut, which is exactly what Marius is doing to her. Samantha nails the emotion. That's probably our only complaint with Lea Salonga in the 10th; she makes Eponine look pouty.

Then, of course, there's Sir Twerp-a-lot. We really should stop making fun of him, as it's evident the poor boy has no lungs and therefore it's not his fault. But c'mon. SERIOUSLY. This is how Michael Ball sings it: "A heaarrttt fullllll of lovvvvvveeee" in a swoon-worthy voice that makes us want to, well, swoon. Now Nick Jonas: "A heart. Full. Of love," with a look of utter agony on his face. No, people. Just no. Um, did he forget he's supposed to be in love?

A Heart Full of Love - Cosette, Marius and Eponine (25th)

Attack on the Rue Plumet-

Eponine finally gets her chance to shine—and we cheer our heads off! Samantha Barks does a great job in this exciting, intense scene, but more of the original song lyrics are included in Lea Salonga’s version (10^th).  Plus, Lea frankly screams better.  “I’m gonna scream, I’m gonna warn them here!”  We really have to hand it to Eponine.  Who knows what her slimebucket of a father might have done to her for daring to spoil his robbery attempt?  Yay Eponine!

Attack on the Rue Plumet - Eponine

Alun Armstrong also does a better job of this scene in 10^th than Matt Lucas does in 25^th.  While Matt Lucas comes across as gross and annoying, Alun Armstrong really seems quite menacing when he threatens Eponine.  “You heard, my girl! You’ll rue this night! I’ll make you scream—you’ll scream all right!”

Attack on the Rue Plumet - Marius

And yet again, we have to do a facepalm over Marius.  He comes bouncing out of the shadows to congratulate Eponine on saving the day once more, but before her delight can even register, he’s zoomed over to “dearest Cosette” and is completely ignoring poor Eponine once again. Grrrrr.

One Day More-

One Day More

*Petie and Amy put their faces in their hands and wail* URGH. This is such a tough choice. Both versions are just so doggone epic. "One Day More" is the finale to the first act of Les Miserables, and wow, what a finale it is! This song could very well be the best song from the whole concert. It's hopeful, emotional, heartbreaking, and triumphant.

The 25th

As hard as it is, we choose the 10th for the best performance of this song. The main reason? Michael Ball, peoples. We've said it before, and we'll say it again: you can hear him over every single other person in that entire ensemble. "I did not live until todayyyyyy!!!" Nick Jonas in the 25th just cannot compare. And we also find it hilarious that Valjean and Javert share a mic in the 10th. :)

But we can't forget two major things from the 25th version of "One Day More."
1) Ramin Karimloo is Enjolras. DUHHHHH.
2) Gavroche is up on Combeferre's shoulders! How cute is that?

*fangirly giggles* Have we mentioned how much we love Enjolras/Ramin?
There he is with his trusty rifle and of course the Red Vest of Power
and Awesomeness!

On My Own-


Okay, first of all let’s give a huge round of applause to Samantha Barks for doing such a lovely job with this song in 25^th.  *applause*

And now that that’s out of the way, we can begin to gush over Lea Salonga’s version in 10^th.  We are really big fans of Lea Salonga, a fact you may or may not have guessed already.  She has such a gorgeous voice and incredible stage presence (peoples, she IS Eponine) and all of her songs in Les Miz are pretty close to perfect.  But if she had never done “In My Life” or “Little Fall”, we would still be huge fans, because she absolutely owns “On My Own”.  (Hmm.  That definitely sounded redundant.)

Lea Salonga, on her own.  *spontaneous applause*

“In the rain, the pavement shines like silver.”  It’s Lea Salonga’s voice that shines like silver (if voices shine, that is—do they?).  The pathos she puts into, “I feel his arms around me,” the resigned anger in, “And I know it’s only in my mind!” and the heartbreak of, “…a world that’s full of happiness… that I have never knooooooown!” break us every single time.  “I love him, I love him, I love him—but only on my own.”

Javert's Arrival/Little People-

Javert's Arrival/Little People - Gavroche

This song just makes us grin. Javert is pretending to be a sympathizer for the revolutionaries, but who should come along and expose him for the police officer he truly is? Yep, smart little adorable Gavroche, in all his cocky-cute self. "It only goes to show what little people can do."

We love Robert Madge from the 25th. His expressions are so endearing, and he's so proud of himself. And at the end of the song, he gives this awww-worthy, cheeky smile. Bravo! We only wish 25th had included the full lyrics of "Little People" the way 10th did.  Sigh.

Night of Anguish/ Drink With Me-

“Marius.  Rest.”  Enjolras reaches out a hand to stop Marius as he turns blindly away after Eponine’s death.  He puts a hand on Marius’ shoulder, an awkward gesture from a young man unaccustomed to sentimentality, but a testimony to Enjolras’ concern for his friend.   (We prefer Ramin Karimloo overall, but Michael Maguire’s portrayal of this seemingly insignificant event is much more touching.)

Drink With Me - Grantaire and company

Grantaire steps forward to lead the Friends of the ABC in one final song together.  “Drink with me, to days gone by.  Can it be you fear to die? Will the world remember you when you fall? Can it be your death means nothing at all?” Hadley Fraser’s Grantaire in 25^th is so much more memorable (and pitiable—do please tell us we’re not the only ones who cry over him) than the whatshisname dude in 10^th, and the 25^th version of this hopelessly tragic song is by far our favorite.  If it weren’t for Nick Jonas’ squeaky, “Would you weep, Cosette, for me?” at the end, that is.  (It’s a good question, though…)

Bring Him Home -

Bring Him Home - Valjean

Ohhhhh, wow. Can we just fall over in ecstasy from the sheer gorgeousness of this song? Valjean is pouring his heart out to God, offering his life in exchange for that of Marius (the dirty, selfish little twerp) all because Marius and Cosette love each other. Valjean loves Cosette and hates to give her up, but because he loves her, he wants Marius to live. Wow. Jean Valjean is truly one of the most self-sacrificing human beings on the planet.

Alfie Boe does a beautimous job in the 25th, but somehow, we can never lose sight of the fact that he's performing. Now Colm Wilkinson from the 10th, on the other hand, seems to be living it. When we watch the 10th, we're seeing Jean Valjean himself up on that stage, singing his heart out in a prayer for a boy he has no obligation to love. So "Bring Him Home" belongs to Colm from the 10th.

Dog Eats Dog/The Sewers-

One word sums up our perception of Thenardier in this song: ewwwwwwww.  This guy is gross and despicable.  The end.

The Sewers - Valjean and Marius

Moving on to a slightly more pleasant topic than that of robbing dead bodies in the Paris sewers (gag), we definitely prefer this song as it appears in the 25^th. Alfie Boe actually has Nick Jonas slung across his shoulders (see, he DOES have the advantage of being little enough to be lugged around the stage) whereas Colm Wilkinson in 10^th just stood there and Michael Ball was nowhere in sight.  Plus, the 10^th version spends far too much time zooming in on the orchestra as they play the hauntingly sad reprise of “Bring Him Home.”  It’s lovely music… but we want to see Jean Valjean, not the bassoonist! (However, we do get cold chills up and down our spines when Colm Wilkinson sings, “Look down, Javert, he’s standing in his grave! GIVE WAY!”)

Javert's Suicide -

Javert's Suicide

Well, the title explains it all. We love how this song is like a Javert-version of Valjean's "What Have I Done." This is where Javert decides he can no longer wrestle with his utter confusion, and he can't understand Valjean's actions. He realizes he has been totally mistaken, and he is ashamed that he cannot bring himself to convict Valjean, after all these years of hunting him. "There is no way to go onnnnnnnnn!" So, you guessed it, he kills himself.

*Petie and Amy collapse into hiccuping sobs* We need more tissues. Pronto.

This song is so difficult to choose a favorite. Philip Quast puts more emotion into it, we think, and he is definitely the better singer. BUT Norm Lewis tears up, and that's a HUGE plus for us. But if you demanded we choose and threatened to come after us with Enjolras' rifle, we'll have to say Philip Quast. But it's a painfully close call.

We've been raving so much about Philip Quast, how about we give some applause to Mr. Norm Lewis? *cascading round of applause*

Every Day-

Cosette finally gets her teeny-weeny moment to shine when she comes to comfort Marius after his pathetic solo (and we mean pathetic in the best possible way). Jean Valjean is close on her heels, come to make his ultimate sacrifice and give away his little girl.

Every Day - Cosette and Marius

The harmony on his song is just gorgeous, and Judy Kuhn actually does a lovely job with Cosette’s part in 10th. “Don’t think about it, Marius, with all the years ahead of us…” The real credit for making this song amazing, however, has to go to Colm Wilkinson and Michael Ball (cough, cough). Believe us, nobody can beat the way they sing, “She was never mine to keep”… “Cosette, Cosette!”

Though Alfie Boe sings beautifully in the 25th version, we’re for 10th all the way—Marius and Cosette’s kiss in 25th was anticlimactic, and did we mention that Colm and Michael are the best of the best?

Valjean's Confession (25th only) -

Valjean's Confession - Valjean

Ooohhh... we are having to hold each other back from leaping through the screen and strangling Marius within an inch of his life. Valjean is telling Marius everything (hence the "confession" part of the title) about his past, about Cosette, and about his true identity, once again being willing to separate himself from his precious Cosette in order to spare her from shame. And Marius, not wanting to spoil his own reputation, allows Jean Valjean to walk away from his life forever. Marius, this is the part where we glare at you and dislike you temporarily. BEWARE OUR ANGRY EYES.

Of course, we like the 25th version of this song because, well, it's only in the 25th version. :) Funny how that works... Alfie Boe does a beautiful job, and Nick Jonas is, well, Nick Jonas, standing there in all his five-foot-tall glory with his ever-present pout. (Okay, so maybe he's not that short, but sometimes he sure looks like it.)

Wedding Chorale/Beggars at the Feast-

Ring out the bells upon this day of days! No matter what our feelings for Marius and Cosette as a couple may be, nobody can keep from wanting to scream and shout and jump up and down when they finally wed. Sadly, the 10th concert doesn’t include the wedding (except for the chorale at the beginning) and leaves out the Thenardiers’ party-crashing, which is a real shame because that’s an important element of the story. Plus, we would have paid good money to see Michael Ball punch out Alun Armstrong. (Disclaimer: we have nothing personal against Alun Armstrong.)

Wedding Dance - Marius and Cosette (apologies for the poor quality!
They were moving so fast it was hard to get a good screencap)

The 25th version of this song really wins by default—Cosette’s wedding dress is breathtaking and the chorus’ jubilant song sweepingly beautiful, but Marius and Cosette’s so-called wedding waltz rather resembles two little kids playing see-who-can-get-the-dizziest.

Beggars at the Feast - Mme. and M. Thenardier

As for Beggars at the Feast, the sleazy Thenardiers’ last appearance, the applause goes unquestionably to the 10th version. Alun Armstrong beats Matt Lucas any day.

Is Les Miz week almost done already? How tragic…
We’ll see you tomorrow!
~ Petie and Amy

The Music of a People: The Songs of Les Miserables - Part One

Do you hear the people sing?

 It’s been said that Les Miserables should be called an operetta, because unlike most musicals it is sung-through.  Yep, with the exception of Enjolras’ two or three spoken lines at the barricades, the entire musical consists of singing.  It’s phenomenal really, when you think about it.  To take Victor Hugo’s massive, prose-loaded Victorian (heh, heh, pun not intended) novel and turn it into music is a vast undertaking.  But with geniuses like Alan Boublil and Claude-Michel Schonberg writing the songs, nothing seems more natural than for Les Miserables to be sung in its entirety. 

Both concert versions contain amazing renditions of these beautiful songs.  It’s hard to pick favorites, but we are girls who do hard things, so without further ado we beg to put before you our comparisons…

…the songs of Les Miserables.

Prologue/On Parole –

Prologue/On Parole - Valjean and Javert

The Prologue, while it is a mind-blowing beginning to the concert, is a tough song to hear. The prisoners of Toulon are in despair at their situation ("The sun is strong, it's hot as hell below!"), wishing for their deaths ("How long, oh Lord, before you let me die?"), and giving up all hope ("I've done no wrong, sweet Jesus, hear my prayer."). Then Javert comes on the scene, in all his intimidating glory. "Now bring me Prisoner 24601! Your time is up and your parole's begun!" We get our first peek at Jean Valjean, a hardened criminal who's appalled at his unjust treatment. He's released on parole and harshly judged wherever he goes. But then he meets the Bishop, who is the first to show him any kindness.

Both concerts execute this song very well. Of course, we are biased to the 10th, considering it stars Colm Wilkinson and Philip Quast as Valjean and Javert. The passion and conviction in Colm's voice as he declares "My name is Jean Valjean!" gives us shivers. Likewise, Philip totally nails the line, "And I'm Javert! Do not forget my name. Do not forget me, 24601." You can tell Javert is completely rubbing in the fact that he still considers Valjean a criminal with a number. And the way Valjean (er, we mean Colm) sings, "Took. My. Fliiiiiiiiiiiight!!" makes us realize we have taken a trip to Epic City.

Valjean’s Soliloquy/What Have I Done?-

What Have I Done? - Valjean

This song is where we really begin to feel empathy for Jean Valjean.  Forgiveness--the most radical and unexpected thing he’s ever encountered--has just been bestowed on him, and he doesn’t know what to do.  “How could I allow that man to touch my soul and teach me love? … He told me that I have a soul--can such things be? I had resolved to hate the world... the world that always hated me.”  Thus far, Valjean has known nothing but cruelty and pain.  “Take an eye for an eye, turn your heart into stone! This is all I have lived for, this is all I have known!” But he resolves to give his life over to God, to change his ways and become a better man. He tears up his parole ticket and starts on a new journey.  “Jean Valjean is nothing now--another story must begin!”

Undoubtedly, it is Colm Wilkinson in the 10th who completely owns this song.  Alfie Boe’s rendition is stirring, but Colm’s sends major goosebumps up and down our arms.  We can feel every bit of Valjean’s inner turmoil and anger, and when he sings the last line, we’re in tears often as not.  (Heehee.  We’re in tears often as not throughout the entire musical... but that’s not the point.)

At the End of the Day-

At the End of the Day - Fantine

France was a hard place to live during the time of Les Miserables. "At the End of the Day" explores the harsh reality of the people and their desperate lives. "At the end of the day you're another day older. And that's all you can say for the life of the poor. It's a struggle, it's a war, and there's nothing that anyone's giving. One more day standing about, what is it for?" This song also introduces us to Fantine, a struggling single mother who is mistreated and fired from her workplace because of her out-of-wedlock child. We prefer the 25th version, because Lea Salonga is the one playing Fantine (no prejudice there).


I Dreamed a Dream-

I Dreamed a Dream - Fantine

Lea Salonga.  The End.

All right, all right, we’ll elaborate a little more...
Fantine’s main song is so achingly beautiful, we can’t help loving it no matter who sings it.  But as we said in the characters post, it’s Lea Salonga in 25th who best conveys Fantine’s pain and despair with her gorgeous voice.  “But there are dreams that cannot beeeeeee...” Ruthie Henshall’s version is kind of mediocre, and her facial expressions can’t begin to compare with the emotion on Lea Salonga’s face.  And the emotion in Lea’s voice? Forget it.  This is no contest at all.  Do you peoples have any idea how hard it is to cry and sing clearly at the same time?  It’s incredibly difficult, believe us.  But Lea Salonga sings and sobs at the same exact time, and we firmly believe that the entire audience (whether they be at the actual concert or watching the DVD at home) are doing the latter with her.  “Now life has killed the dream I dreamed…”

The Runaway Cart-

The Runaway Cart - Javert

Hoo boy, it's on now. Javert is starting to have suspicions about Valjean's true identity. You can see the skepticism in the his eyes, and the fear and hint of shame in Valjean's. Javert doesn't quite accuse Valjean yet (after all, Valjean is an esteemed mayor!) because he's under the impression that the true Jean Valjean has been captured. But Javert's not convinced. Finally, he leaves Valjean to privately ponder his dilemma.

The best performance of this song goes to the 10th. We love how it shows clips from the stage production, portraying the actual wreck of the cart. Oh, and the look on Philip Quast's face as he sings... *spine tingles* In contrast, Alfie Boe and Norm Lewis just stand there in the 25th. Sigh. It could have been so amazing, but they didn't do much with it.

Who Am I-

Who Am I? - Valjean

One of the most beautiful songs in the entire musical... how can we even begin to rave and gush about how much we love it?  We can’t, so you’ll just have to take our word for the fact that it’s heart-rending--and uplifting. “My soul belongs to God, I know.  I made that bargain long ago.  He gave me hope when hope was gone; He gave me strength to journey on!” Jean Valjean is faced with a terrible choice.  Forget the rock and the hard place idiom—Valjean is trapped between an avalanche and a raging forest fire.  

We’re beginning to sound like broken records here, but it is so, so hard to pick a favorite version of this song.  Colm is our favorite Valjean, as we’ve said, and he sings this with so much emotion and angst-- but Alfie’s voice is utterly beautiful and he doesn’t squeak at the end. :D (Amy thinks the squeak is a vital part of the song.  Petie thinks it kills the effect.  We’ve agreed to disagree.)  So as far as this song goes, we choose Alfie Boe from 25th.

Fantine's Death/Come to Me-

Fantine's Death/ Come to Me - Valjean and Fantine *sob*

OH, OUR SOULS. Lea Salonga from the 25th. Forever and ever, amen.
'Nuff said.

Oh, fine. We'll be more specific. But really, we like the 25th version of this song better for the same reasons we love the 25th version of "I Dreamed a Dream."  Lea has so much raw emotion in her face and voice as she sings of her precious child. We must also commend Alfie Boe. He plays opposite her so heartbreakingly well.

Confrontation-

Confrontation - Valjean

“Valjean, at last... we see each other plain.  Monsieur le Mayor, you’ll wear a different chaaaaaaaaaiiiiiiiiiiin.”  The Confrontation might not be one of the most popular songs in the musical, but it’s completely mind-blowing and we usually have to pick our jaws up from the floor when it ends.  Philip Quast’s menacing tones in the first line are shiver-inducing, but we also have to give a shout-out to Norm Lewis for the way he sang that low note.  Wow.  (For just two seconds, it makes us wish we could sing bass-baritone.)

We like both versions, but 10th definitely gives us more goosebumps.  Philip Quast’s performance is just spine-tingling.  The power in Colm’s voice makes Valjean’s dangerous side come back into play, and it’s almost scary! “I am the stronger man BY FAR! There is power in me yet... my race is not yet run!” Alfie’s rendition of that line is bit weak, spoiling the effect, so ultimately we prefer 10th.  (And did we mention Philip Quast’s Javert yet?  What, we did?  Well, it bears repeating.)

Pardon us while we gulp down sobs at the very end.  Valjean could have just knocked out Javert and gone racing out into the night, but instead he chose to tell Fantine one more time that he would protect her little girl.  Yes, yes, Fantine was dead already… hush.  It’s the principle of the thing.  And the way they both sang the exact same line with very different intent at the end?  “I swear to you… I will be there.” CHILLS.

Castle on a Cloud-

Castle on a Cloud - Little Cosette

Ah, here is where we meet Little Cosette, whom we've already stated is played to perfection by the 25th's Mia Jenkins. She lives in such a horrid place, but that doesn't stop her from dreaming: dreaming of her mother, dreaming of a better life, dreaming of love. We always tear up at the beginning when Fantine pauses on her way offstage and looks at Cosette. *melting*

"Castle on a Cloud" is such a hopeful song. We love how it's just so simple and sweet, just like Little Cosette. And then that slimy Mrs. Thenardier has to barge in and ruin it. Speaking of which...


Thenardier Waltz of Treachery-

“Don’t come any closer!” Petie and Amy shriek at the Thenardiers.  “We don’t want to get any slime on our clothes.”  Monsieur and Madame Thenardier (hereafter abbreviated as M. and Mme. T. because we are lazy typists) are suddenly faced with the prospect of giving up their little slave—er, adopted daughter.  The idea is not a happy one, but eventually the T.’s manage to get over their grief and bereavement enough to let Valjean take away their useful—um, beloved little girl.  And of course the fifteen hundred francs he gives them don’t exactly hurt.

We’re being sarcastic here, in case you didn’t notice. 

Waltz of Treachery - Little Cosette and Valjean

 Alun Armstrong does an excellent job in the 10^th version (and of course Jenny Galloway is great in both) but really we have to go with Matt Lucas’s hilarity in the 25^th. 

“Let’s not haggle for darling Colette—”

“COSETTE.”

“Cosette…”

Honestly, the two Valjeans do an equally good job in this song.  Colm Wilkinson nails the sarcasm (see, Valjean DOES have a sense of humor) with his, “Your feelings do you credit, sir…” but Alfie Boe’s protectiveness of Little Cosette (carrying her offstage! Everybody say “awwww!”) is just adorable.  Nope, we can’t decide.


Look Down- 

Look Down - Bahahahaha! It looks like they just
had an argument.  "Fine!" "FINE!"

The 25th owns this song. All the way. Robert Madge as Gavroche is perfection. He's confident and cocky, and we love how he describes his life on the streets: "'How do you do, my name's Gavroche! These are my people, here's my patch. Not much to look at, nothing posh, nothing that you'd call up to scratch. This is my school, my high society..." The other element that determines the 25th's ownership of "Look Down" is Ramin Karimloo as Enjolras. He's just so passionately charismatic; he blows us away. And we could listen to his voice all day long...

One of our favorite parts of this song is Eponine's entrance, which is only shown in the 25th. This is where we first see her, and the way she saunters onstage, confident and tough, while Gavroche narrates, is so thrilling.
Actually, if it wasn't for Sir Twerp-a-lot (read: Nick Jonas as Marius), the 25th would've nailed this song to a T. (But Twerp's presence does serve a purpose; he serves to remind us why we love Michael Ball so much.)

Robbery/Javert’s Intervention-

Sadly enough, this song only appears on the 25^th.  We would have paid good money to see the drama unfold on 10^th, but it was not to be.  Sigh.   In this song we get our first glimpse of Elderly Cosette (as opposed to Young Cosette, you know)—and so does Marius.  This song gives us another moment of comic relief (and believe us, with a tragedy like Les Miz we need all the comic relief we can get), because Marius and Cosette’s first meeting is nothing short of hilarious.  “I did not see you there, forgive me.”  *Amy and Petie sarcastically swoon from the pure romance of the moment*  Really, this is far, far better than anything Jane Austen could ever have come up with.  Of course.

Unfortunately, the 25^th still cuts some of this song, leaving out Eponine and Marius’ first dialogue together (“Don’t judge a girl on how she looks.  I know a lot of things, I do!”) and failing to verbally establish the fact that Eponine is in love with Marius (“Little he knows… little he sees.”).  However, with Samantha Barks’ emotive face, the dialogue isn’t necessary.  We KNOW she loves Marius… and we’re heartbroken for her. 

Stars-

Stars - Javert

Norm Lewis, you know we love you, but... this song completely and utterly belongs to Philip Quast from the 10th. If you think we've been gushing over Philip Quast already, you ain't seen nothing yet.

This, this is what determines our fanship of Javert. Yes, yes, we know this song is all about Javert's relentless pursuit of Valjean, and how he will never rest until Valjean is behind bars. But Javert is such a determined man, and there's no doubt he believes in justice! But what really crushes our hearts is how he believes God expects him to deliver full and complete justice in order to gain his entrance into eternity. Poor, confused, misled man. We can't help but love him.

And we will forever love Philip Quast. We shall always be two of his biggest fans. And we shall never turn to another Javert.

This we swear by... the STAAARRRRRRS!!

Red and Black-

HOORAY FOR ENJOLRAS!

(Excuse us, but that had to be said first of all.)

This song is when it really starts getting good.  (Not that it wasn’t before.)  Our apologies to any and all Michael Maguire fans, but we absolutely, without a doubt, favor the 25^th version over the tenth.  Why?  Two words, peeps: Ramin Karimloo.

Red and Black - Enjolras FOREVER!

He completely owns this song, putting so much passion, fire and charisma into it that we’re ready to shoulder rifles and join him at the barricades.  And we do—in our minds, anyway.  “Red, a world about to dawn! Black, the night that ends at last!” The only complaint we have about the 25^th’s version of Red and Black is the presence of Nick Jonas, a.k.a. Sir Twerp-a-lot.  His rendition of Marius’ lovestruck lines (“I feel my soul on fire…”) cannot possibly be called pretty, pretty angel music.  Instead, he sounds strained and ridiculous.  Michael Ball does a fantabulous job in 10^th, however, and if only he and Ramin Karimloo could have been paired for this song… *Petie and Amy sadly shake their heads over what might have been*

Michael Maguire’s rapid blinking during some of the most inspiring lines in 10^th kind of ruins the intensity of the moment, but we have to admit he has an amazing voice.  And of course we can’t forget to squeal a little over Gavroche’s second appearance in both versions—“Listen! Listen to ME! LISTEN, EVERYBODY!” Adam Searles (10^th) does a better job of hamming up his Big Moment of Important Announcement (“General Lamarque… IS DEAD!”) but Robert Madge is our favorite Gavroche overall, so we’re pleased with his version as well. 

Really, the only thing that we wish could have been different in 25^th (other than the banishment of Nick Jonas) is the absence of Enjolras’ Red Vest of Power and Awesomeness.  But never fear, it will appear in the second act… so stay tuned.

*To Be Continued*

~Amy and Petie

Tale As Old As Time

Anne-girl and I are in the middle of watching North and South (2004) and though Anne-girl keeps reiterating, "This is Pride and Prejudice all over again," the story that keeps coming to my mind is Beauty and the Beast.  (N&S is amazing, by the way.  Highly, highly recommend it.  Review coming... eventually.  When I get around to it. :P)

Anyway, I kept mentally comparing Margaret and Mr. Thornton's relationship to that of Belle and the Beast in the Disney movie.  Stop giggling.  The theme song fits, it really does! See for yourself. (I searched on YouTube but couldn't find a good quality music video combining the song with clips from N&S, unfortunately.)

Tale as old as time, true as it can be
Barely even friends, then somebody bends
Unexpectedly.

Just a little change--small, to say the least.
Both a little scared, neither one prepared
Beauty and the Beast.

Ever just the same, ever a surprise
Ever as before, ever just as sure as the sun will rise
Tale as old as time, tune as old as song...

Bittersweet and strange, finding you can change
Learning you were wrong...

Certain as the sun, rising in the east

Tale as old as time, song as old as rhyme...

Beauty

and the Beast
(um, apologies to all Mr. Thornton fans out there *ducks*)

Tale as old as time, song as old as rhyme

Beauty and the Beast.

Cue all those "awwwww"s...

Apologies again.  I really do like Mr. Thornton.  No, really! I do!  In fact, I was utterly thrilled when I found this video combining one of my favorite Beauty and the Beast songs with clips from N&S (unfortunately, however, it DOES contain That Scene in the mill at the beginning, so exercise caution).  Does the song fit perfectly or what?  (Don't say what.)



I know posting has been rather spotty lately and I haven't been putting up much of substance... life's been ridiculously busy, but things are slowing down this week (sort of ) and I hope to have a more interesting post up soon!