Postscripts to Les Miserables

[mamaleh]

I console myself with this thought: At least he lost to Daniel Day-Lewis. Had the film been released in 2013, how would he have fared against McConaughey? I hope/think Hugh would have come out on top, perhaps not by much. But who knows?

Ellen

[Jamie]

Jun 19, 2014 9:41:08 GMT -5 mamaleh said:

I console myself with this thought: At least he lost to Daniel Day-Lewis. Had the film been released in 2013, how would he have fared against McConaughey? I hope/think Hugh would have come out on top, perhaps not by much. But who knows?

Ellen

What bothers me is that he should have won against DDL, but the "community" wanted to give that record Oscar to DDL who was great as usual but not in one of his better roles. It was like this year's Tonys where the "community" wanted to give the award to NPH who was wonderful in the role of Hedwig, but honestly not as good as Jefferson Mays.

[Jamie]

I love the film and its concept of "live singing" with only the following reservations. We know these people can sing "pretty". The rawness helped the dramatic content. The "Master of the House" number was way too long and destroyed the flow of the film. On stage without all that flamboyance it serves as a comic relief from the depression of the first part of the show. In the film, it feels as if we left Les Mis and landed in Oliver. The film would have been better served by more scenes between songs. Russell riding the horse in the corridors was wonderful. Movies are visual and the movie needed more of that sort of action between the songs which would have cut down on the complaints about the closeups. The songs shouldn't have been cut, particularly Red and Black that really gives you the motivations of the Barricade Boys. Other than all of this, the film is magnificent. Hugh is amazing, and it will become more and more of a classic as the years pass.

[jo]

I agree about the need to include more visual action, as that distinguishes the cinematic appeal from the static stage setting. I liked how they presented WHO AM I, showing Hugh in various emotional stages including that very brief ride to the court ( his fury with the horses accentuated how he wanted to completely vindicate the wrongly-accused man). And to give the movie breathing space, that scene showing the carriage which bore Valjean after he was able to "wrestle" Cosette away from the clutches of the Thenardiers almost seemed like a fairy tale moment...and then followed by SUDDENLY, representing Valjean's epiphany ( the first one being his encounter with the Bishop, towards a life of redemption...and this one representing how he found love). Nothing of course can compare to the visual strength of that opening scene, as the convicts wrestle with the elements to bring in a stricken ship ( the ship of state, supposedly also in a parallel to the stricken society at that time) while singing about their longings and frustrations.

Many more scenes that come to mind, which strikes one in the gut -- that Javert moment when he pins his medal to the dead Gavroche( no words, simply fine acting from Russell), that moment when Enjolras and his comrade faced death with such inner strength and conviction ( Aaron showed how well he can project the idealism of Enjolras), of course the epiphany moments in the Soliloquy ( I have always been a little bored by the straightforward almost monotonous singing on stage...I sometimes thought they added that last note with the lyric " flight" to add some dimension to that portrayal. LOL - the first time I heard the stage Soliloquy, I had absolutely no idea what he was singing about and was simply looking at this guy singing on a revolving stage). Any stage rendition could not beat the whole visual of Valjean's lament and resurrection in Soliloquy -- and I loved how he walked so fiercely through the chapel corridors to the outside where he flung his yellow ticket of leave...and see it soar through the heavens!

Re RED AND BLACK -- that was one of my favorite songs from the musical because it introduces the audiences to the friends of the ABC and gives us a peek at their characters. Hmm... I don't remember that it was cut in the movie maybe because the visuals ( compared to the stage scene/ singing) moved well among the individual characters, giving us more insights of each one of them. It also showed how the citizenry were part of the rebellion efforts.

And the portrayal of DO YOU HEAR THE PEOPLE SING ( my favorite song from the musical) was spectacular ( even highlighting the funeral of LaMarque whom they idealized and how the repressed feelings of protest and insurrection turned into the beginning of the barricade rebellion ... to the death! The reprise at the end was also very well-thought!

Bring Him Home became less static (the stage simply zeroed in on Valjean's prayer) and more poignant when it allowed the scenes of Valjean looking around at the sleeping-boys-about-to-die while he sought Marius ( as he wrestled with the thought of giving up Cosette to this young man...and eventually offering himself to God to spare this unknown young man for his daughter's sake). I thought the singing interpretation by Hugh brought home these points very well, despite the clamor of many that he should have just sung it like a prayer - bah! ( Sorry!) ...The reprise of BRING HIM HOME was so poignant in the finale - he acknowledged his own mortality and was actually asking God to bless him and let him rejoin his heavenly father! One of Hugh's finest acting moments ever! That voice also aged! (Although maybe the actor was helped by the coldness of that evening during filming and affected his voice, to the advantage of his acting - LOL!).

The movie also allowed the inclusion of some key passages from the novel that were missing from the stage production ( the transition in the convent of Valjean and Cosette to depict the "lost years", "Suddenly" which affirmed how Valjean's protective intent turned to a more personal one of loving the lost child, the initial Javert/Valjean encounter which established their relationship and also established why Javert wasn't too sure if le Maire could be a hardened "criminal", etc., even the changing of the placement of I Dreamed A Dream compared to the stage was a better interpretation of the whole beautiful- life- turned- ugly story of Fantine, the scene for Empty Chairs was so poignant and segeues well into his return to his grandfather -someone not mentioned onstage, as that represented how Marius was turning away from a life of privilege )

I could watch the movie again and again

Re Matthew McConaughey -- I think Hugh would have stood a much better chance because he would not be battling against the image of arguably the most beloved of American presidents and the community wanting that third Oscar for a well-known actor. AIDS was only one scourge of modern day society whereas Les Miserables represented all the ills of society at that time ( although many make mention of the Occupy movement and the Arab spring as current-day versions) so in terms of themes, Les Mis would have had the advantage. If we are talking of the charisma factor, it is hard to beat a Hugh Jackman unless one is a Lincoln

Jo

[mamaleh]

Jamie, I'm also of the mind that many Oscar voters wanted to see a special, record-breaking moment with DDL, and perhaps an equal number expressed their distaste for musicals. So Hugh's loss was likely a foregone conclusion, unfortunately. Hope next time it works out.

Also agree that Jefferson Mays was spectacular in his many roles, a much more difficult feat to pull off.

Elllen

[jo]

I think it was not so much a distaste for musicals, but the negativity factor against Tom Hooper was working very well with certain sectors because he dared beat a favorite, David Fincher of Social Network, for an Oscar with The King's Speech. So many zeroed in on his cinematic concept ( the live singing, the cinematography concept, even the heightening of the drama versus the music) to criticize unsparingly! Of course the reaction of some of the theatre community did not help either ( Was that more of jealousy or what?).

In the GoldDerby summary of odds ( which included many pundits from the film blog industry, Hugh Jackman was a solid second behind DDLewis, with one or two even predicting that he may just steal the prize. In contention also were Denzel Washington and indie film favorite Joaquin Phoenix...and Harvey Wenstein-supported nominee Bradley Cooper. It was a formidable field.

It is also amazing that the reaction to the very first screening held in New York ( where I expected some negativity because the city is more identified with musical theatre), was "rapturous" and had led to some expectations of a sweep at the Oscars. Alas, when the Hollywood community perked up with their favorites, it looked like the old-boys-school network worked strongly in favor of giving DDLewis his third prize. Of course how Spielberg maneuvered the campaign was amazing ( DDLewis as the TIME cover story for being the best actor of his generation...and that White House screening -- how can one beat that?)


Hmm... are people still talking about DDLewis's performance for that movie these days?? Les Mis comes up in conversation more often, it seems! And it did establish that Hugh Jackman is a very versatile actor, especially after Prisoners followed that dramatic portrayal of Valjean.

Jo

[jo]

A revival of Les Miserables is about to open in Melbourne. Part of this article relates to that production and part of it references to an interview with Cameron Mackintosh before the Broadway revival opened.

www.smh.com.au/entertainment/theatre/les-miserables-the-last-of-an-era-20140619-zs5qg.html

Some interesting excerpts --

We meet the day before the Broadway premiere of his re-invigorated Les Miserables; the same version about to open in Melbourne. Given its extraordinary success – seen by 65 million people in 42 countries – Mackintosh could have simply revived the original production, sat back and raked in the millions. Instead, he’s tweaked almost every aspect.

‘‘I can’t keep doing the same show,’’ he says. ‘‘Anything that’s classic should be reinvented by new generations. I want younger people to embrace this as their own.’’

The opening night performance, on West 45th Street’s Imperial Theatre, suggests they will. The famous turntable set is conspicuously absent, replaced by digital projections based on the sketches of Les Miserables author Victor Hugo. Mostly, they’re unobtrusive, serving to set the scene while allowing greater focus on the performers.

However, when used to create a sense of depth, they create a cinematic feel (no surprise, given this version inspired the 2012 hit film starring Hugh Jackman and Russell Crowe).

The simpler lighting and new orchestrations, relying on fewer instrumentalists, allowed Ramin Karimloo’s powerful voice to shine, particularly in Valjean’s soaring ballad Bring Him Home. The dialogue is sharper, the narrative clearer and the humour a touch more ribald. The whole thing feels fresher; a more vital take on the beloved production.

smiley-rolleyes010 Hmmm... so why was Les Miserables left out of any TONY wins recently ? And by a show like Hedwig , whose production values on the surface would not have likely exceeded the Les Miserables staging based on what the article suggests?

I wonder what Tom Hooper and his set designer have to say to the comment that the revised Les Miserables stage production inspired the cinematic feel for the film adaptation smiley-rolleyes010...Tom must have worked on how the film was going to project itself based on his own cinematic vision ( He and his team are an Oscar-winning creative team after all!) and how diligent he was about researching the implications of the Victor Hugo narratives in the novel. He saw the London production ( which was still using the original staging), not the revised staging, if I recall right from various accounts. I remember him saying that he saw the musical for the first time in London only when he was about to sign up. The back story to the controversy with Trevor Nunn, was that Mackintosh wanted to redesign it to reduce the cost of staging and instead of going back to Nunn, decided to go to Nunn's former assistant directors for the new staging. That had caused the conflict between the director and the producer...and from accounts, Nunn is still not on talking terms with Mackintosh, despite some overtures from the latter.

Mackintosh, who had the final say on casting, was won over by what he describes as Gleeson’s ‘‘inner spirituality’’.

‘‘All the best Jean Valjeans have it,’’ he says. ‘‘They have a serenity and calmness to them. When you talk to them, they’re grounded people.’’

And yet, Hugh was offered the Javert role when they were casting the first staging of Les Miserables in Australia...which Hugh had supposedly declined.

Of course, this ( the look of spirituality) was the reason offered by Mackintosh when he was asked why Hugh was cast for the film adaptation. I agree that Hugh has the look of inner spirituality...but it was actually Universal Studio who approved his casting and most probably because he had the look and most importantly because he had the stature in Hollywood, only supported by his stature in musical theatre. I wish Mackintosh would not claim full credit for the casting of Hugh when he himself was batting for Boe initially.

Jo

[jo]

Interesting discussions on ATC re Jersey Boys, initiated by Hitbycab, a regular --

www.talkinbroadway.com/allthatchat/d.php?id=2218394

All the joy and excitement I felt during the stage show (twice) was missing. The music of course was wonderful but in between songs, it was long and drab. All the actors were great EXCEPT poor John Lloyd who is a blank. I felt nothing...simply nothing. He just wasn't very good. No personality...no charisma....no believability. Just a great voice.

Going tomorrow afternoon. The reviews for Young have been eerily in sync with yours, almost verbatim. I wonder if he really is (only, or to be fair, predominately) a singer, not an actor. People have pointed out that he didn't follow up his Tony win with any meaty stage role, and might have. I love his vocals, he's wonderful in a cabaret performance; but I wonder if his gifts are mostly musical

I have read similar reactions from film reviewers on Rotten Tomatoes but did not post them because people might think this is a biased view from Hollywood observers against stage actors ( who were used for the movie version).



I make reference to this because I am hoping that the theatre community will now better appreciate why Hugh and Russell and Anne were cast in the film adaptation of Les Miserables -- because they had first-rate acting chops for the roles!


Jo

[jo]

On a topic raised earlier as to whether live singing, ala Les Miserables, was used for Jersey Boys, from the Screen Rant reviewer --

Unlike Les Miserables (in which the vocal tracks were recorded live on set), Jersey Boys takes the Rock of Ages approach to musical numbers – with the actors providing dubbed vocal tracks separate from their onscreen performance (though they did sing live during filming, in order to maintain the look of authenticity).

As a result, the musical numbers are a mix of genuinely exciting and toe-tapping set pieces interspersed with uninspired recreations of notable Four Seasons TV appearances. Scenes that feature the guys harmonizing in a studio or composing songs on the fly in a hotel bar manage to capture the thrill of musical theater – while other sequences come across as basic big screen imitation (not inspired film adaptation).

Btw, in case anyone is interested -- Rotten Tomatoes overall rating ( 138 reviews so far) of JB is 54%.

www.rottentomatoes.com/m/jersey_boys/


In comparison, Les Miserables had a FRESH Rotten Tomatoes overall rating of 70% ( based on 227 reviews)

www.rottentomatoes.com/m/les_miserables_2012/

Also --

Sweeney Todd -- 86%
Mamma Mia! -- 54%
Rock of Ages -- 41%
Phantom of the Opera-33%


Arghh!!! Film reviewers are not musicals lovers, save for Sweeney and Les Mis smiley-rolleyes010...Mamma Mia! defied the negative reviews and recorded the highest ever worldwide box office for a film musical ( $ 609 million)! Will this work for Jersey Boys? The Hollywood Reporter reports that the film may outpace the tracking ( which puts it for $ 12 million or so weekend) and earn between $ 16 million - even to a possible $ 20 million for the weekend, based on Friday traffic. It also skews older so there could be better legs for the movie.

www.hollywoodreporter.com/news/box-office-think-like-a-713840

[jo]

On BWW, there is also some discussion of Jersey Boys, the film adaptation.

Someone posted this --

Christopher Walken, Vincent Piazza,and Mike Doyle fare best, while John Lloyd Young only comes to life when he sings. He's surprisingly wooden with very little screen charisma which is unfortunate due to the size of the role. The stage version obviously covered his weak acting chops with it's terrific staging, design, energy , and last but not least, the MUSIC!

To which someone replied --

"Christopher Walken, Vincent Piazza,and Mike Doyle fare best, while John Lloyd Young only comes to life when he sings."

Keep this in mind the next time you question a film being cast with experienced film actors vs. musical theater stars. Very different media, and not everyone successfully crosses between the two.

[carouselkathy]

Only a few are able to do both.

[JH4HJ]

Les Mis "hidden object" game available for PC and Mac.

THIS IS NOT A RECOMMENDATION. I don't own this game. I know nothing about it. The link was sent to me by a friend because it relates (however tangentially) to Hugh, via Les Mis. If you try it, please let us know what you think. [No. Jean Valjean does NOT look like our preferred version of the character.]

"Les Misérables" is one of the most renowned literary masterworks and has been adapted for film several times. It is now available as an adventure and hidden object game, with detailed graphics. You'll play Jean Valjean in 19th-century Paris.

Explore the novel's legendary scenes, keep your promise to Fantine by saving Cosette from the Thénardiers, escape from Javert's manhunt, be part of the revolts in the barricades by helping Marius and Gavroche, and experience many other twists and turns.
Meet famous characters from the novel
Be part of the revolt in the Rue Saint Denis
Wonderful hidden object scenes
Collect key objects to interact with your environment
High-definition scenery
Animated interactive areas
Mini games and several puzzles to solve

Les Mis - Jean Valjean (computer game)

[JH4HJ]

Is there an upcoming article in Time magazine - or is this a rehash of old news?

Oscar nominees including Anne Hathaway, Hugh Jackman and Jessica Chastain discuss their roles and life lessons learned in their critically-acclaimed films for a Time magazine feature.

[jo]

A review blog of various film adaptations of stage musicals.

I held my breath until I came to the Hugh Jackman part


www.straitstimes.com/lifestyle/theatre-dance/story/when-stars-bomb-musicals-20140718

Culture Vulture

When stars bomb in musicals


Not every musical translates well to film and miscasting is the main reason

.
Published on Jul 18, 2014 11:44 AM


By Boon Chan



A performer who can act, sing and dance well is admiringly referred to as a triple threat. When the acting, singing and dancing come together in a well-executed piece of musical theatre, the result is a triple treat for audiences.

What works on stage, though, does not necessarily translate to the big screen. Tom Hooper's Les Miserables (2012) divided opinions, while Rob Marshall's Chicago (2002) was less satisfying than the Broadway revival production of 1996. And word on Clint Eastwood's Jersey Boys, opening here on Thursday, has been middling.

Often, the problem occurs as a result of casting. Instead of the triple-threat requirements, it is a fourth quality - Hollywood star power - that trumps the other three.

But the thing is, a case of two out of three will not do when it comes to a musical. In John Kander and Fred Ebb's jazzy Chicago, first produced on Broadway in 1975, there is acting, singing and dancing to legendary choreographer Bob Fosse's slinky moves. And there is no way you can shimmy your way through that with two left feet.

More often, though, it is on the singing front that actors fall flat.

Set against the backdrop of seething political discontent in France in the early 1800s, the musical Les Miserables is based on Victor Hugo's 1862 novel of the same name and follows the travails of escaped convict Jean Valjean.

On stage, the part of single-minded inspector Javert has been played by theatre actors such as Roger Allam, Terrence Mann and Philip Quast. The role calls for a rich and authoritative baritone and the Australian Quast was regarded as a strong contender for the title of Javert, even taking on the role at the 10th Anniversary Concert at London's Royal Albert Hall in 1995.

In other words, these were some mighty impressive shoes to fill.

But the big-screen casting of Russell Crowe was a major misstep.

Crowe might have an Oscar for Best Actor under his belt for the historical epic Gladiator (2000), but he simply cannot sing. It sounded as though he had either swallowed a frog or was trying to spit one out. What should have been powerful scenes as Javert swore to hunt down Valjean and later wrestled with his faith caused an outbreak of sniggering instead.

Things improved when it came to getting the right Valjean. The protagonist has been played, arguably most definitively, by Irish tenor Colm Wilkinson. He originated the role in London in 1985 and continued to play him when the musical transferred to Broadway in 1987.

Hugh Jackman took on the role in the film and it was a smart choice as he is one of the rarest of the rare - a triple threat with mainstream star power. When not slicing and dicing baddies as Wolverine, Jackman has done award-winning work on stage. His turn in Oklahoma! in 1998 earned him an Olivier Award nomination for Best Actor in a Musical, while playing singer-songwriter Peter Allen won him the Tony Award for Best Actor in a Musical in 2004 for The Boy From Oz.

One inherent disadvantage of the film medium is that you lose the sense of immediacy you get from watching a theatre production.

But let's be honest here. Whether out of budgetary constraints or due to leave-it-to-the-last- minute impulse, it is all too easy to end up in the cheap seats in the second circle where you have to squint away at the action on stage.

So Hooper's loving close-ups in Les Miserables meant you could see the actors emoting at close range without having to shell out hundreds of dollars for top-tier seats. There is something to be said for the egalitarianism of cinema.

All that emotional bombast was too much for some to take. But given Les Miserables' epic and sprawling story, themes of love, revolution and sacrifice, and scenes of youthful passions boiling over, Hooper's approach and treatment were a good fit.

Another stage-to-screen musical marred by casting choices was Chicago.

In the 1997 Broadway revival of the cynical musical about crime and celebrity, James Naughton won a Tony Award for his portrayal of the silvertongued lawyer Billy Flynn. Richard Gere is silver-haired. Close, but no cigar.

Also, there was a physical mismatch between the statuesque-looking Catherine Zeta-Jones and the smaller-sized Renee Zellweger. It meant the impact of numbers such as Hot Honey Rag, in which two performers move in perfect coordination and sometimes in unison, was diminished.

Most egregiously though, the wonderfully funny duet Class was dropped from the film.

The music component in a musical is key and messing with it rarely bodes well.

Which brings us to Jersey Boys, which is about the 1960s rock 'n roll group The Four Seasons. While Eastwood has had a life-long love affair with jazz, the film still seems a bit of an odd choice for him to direct. He is better known for gunslinging than anything to do with doo-wop singing.

While some gave the thumbs-up to his take on the musical, Time magazine's Richard Corliss called it a "turgid botch" and Variety points to the

"relative dearth of prominent musical performances". The emphasis on the mob links has also led to comparisons with Martin Scorsese's Goodfellas (1990).

One encouraging sign, though: Triple threat John Lloyd Young, who won the Tony Award in 2006 for playing Frankie Valli on Broadway, survived the switch from stage to screen.

It suggests the casting decisions were made without Hollywood star power skewing the equation. Not to make a song and dance of it, however, but that does not mean success is assured. Whether it works as a movie will depend on myriad other factors that sway the fate of every other film.

*One point missed was that film acting is not exactly the same as stage acting. It calls for different training and experience. The cinematic vision may call for different approaches to screen portayals compared to stage acting.

I think his comment re John Lloyd Young may not be altogether true. Many critics thought he was bland and did not show the right emotions in his scenes ...and his co-stars showed stronger screen presence. I wonder if the author also knew that at some point during the Broadway staging of Jersey Boys with JLY, that someone else sang the higher notes ( maybe the falsetto parts) backstage and formed part of the JLY performance onstage before audiences?

*He is also forgetting that Russell's acting in the role of Javert provided a perfect foil to Hugh's dramatic chops! The Crowe and Jackman physical personas were also well-matched. And I think saying he cannot sing is not exactly right -- the quality of his voice may divide opinions but he can certainly sing ( I don't remember that he was awfully out of pitch). Some people resented how he sang STARS -- but Russell chose to sing it more like a contemplative prayer ( to reflect that maybe he was also dealing with morality issues in his conscience despite his seeming hardness), without the bombast of most stage performances.

Jo

[njr]

I (finally) watched the 25th Anniversary production of Le Mis with Alfie Boe as JVJ and the black Javert. I though the Jonas Brothers kid did a good job as Marius. What did everyone else think about the production? I'm glad I saw the movie first though, or else there would have been a lot I wouldn't have understood.

Nancy

[birchie]

Jul 18, 2014 12:30:22 GMT -5 njr said:

I (finally) watched the 25th Anniversary production of Le Mis with Alfie Boe as JVJ and the black Javert. I though the Jonas Brothers kid did a good job as Marius. What did everyone else think about the production? I'm glad I saw the movie first though, or else there would have been a lot I wouldn't have understood.

Nancy

We had many discussions about the 25th Ann. Concert, as well as the 10th, back when they were making the movie (before, during & after) if you can find those old threads. I've had the DVD since it first came out. Briefly, I loved the concert and really enjoyed both Alfie Boe as Jean Valjean and Norm Lewis as Javert. I detested Nick Jonas as Marius and thought it was the worst part of the concert. Whenever I re-watch my DVD I fast forward through some of those bits.

Alfie was thought by many to have been slighted by not being chosen for the movie. I never thought he would be good for the film version because a/He's not really an actor and b/He's much too small. He did the role on the West End and was very popular but, for me, he's better suited to a concert stage.

Everyone was pleased when Samantha Barks was chosen to recreate her Eponine in the movie. I enjoyed her performance in both and she's making quite a career for herself on stage and is also getting more film work. She's still quite young so I think she'll probably be a big star someday. Norm Lewis has done a lot of stage work, won a Tony, and is currently playing The Phantom on Broadway.
Sue

[jo]

SUDDENLY!

I have just watched a concert DVD of Michael Ball called BOTH SIDES NOW recorded from his last tour. And it was such a wonderful moment to hear him in a powerful and emotion-laden rendition of SUDDENLY. I have previously heard him sing this in his CD of the same name but it sounded more like a romantic song to me (which wasn't unusual because I have read some comments to the effect that the song can even be appropriate for a wedding).

Hearing him give it the right context made the impact much more emotional.



The concert featured for the second part a musical theatre component, which included tributes to the many music men who had an impact on Michael's career.

*Tim Rice was a guest at the concert and Michael sang two of Tim's most famous compositions as lyricist( Circle of Life from Lion King and Anthem from Chess). There was also a tribute to Tim's first collaboration with ALWebber, a song from Joseph and the Amazing Technicolour Dreamcoat (Any Dream Will Do).

*Stephen Sondheim, who has also become a good friend, was also part of this tribute section ( he said as the only one who can do wonders with both melody and lyrics)...and Michael said that the composer did suggest "Being Alive" as a good representation of his works. Michael won his second Olivier for Sweeney Todd ( he sang Pretty Women and No One's Gonna Harm You) and starred in another Sondheim musical earlier in his career ( Passion)

*The longest tribute was for the composer who had the greatest influence on Michael's career - Andrew Lloyd Webber. He sang a new composition of ALW (which the composer sent to him to find out what he thought of it) called The Perfect Song, as well as All I Ask of You ( Michael was the second Raoul in Phantom of the Opera and ALW was supposed to have rewritten the notes for the duet after hearing Michael unwittingly sing the leading lady's soprano notes), Tell Me On A Sunday, Sunset Boulevard ( Michael released the title song ahead of the cast recording and he also performed a concert version of the entire show for BBC)), Memory from Cats, Oh What A Circus from Evita...and his signature song ( which Michael says he considers the real perfect song - Lol - maybe because that is the song that he sings in every concert and something which he says he must have sung over a thousand times) from Aspects of Love called Love Changes Everything. It was the opening song ( instead of an overture) for the show, which played on both the West End and Broadway.


But he also had a special section devoted to Boublil and Schonberg!

First, he reprised another signature song - the song he first sang onstage as the original Marius in the first Les Miserables stage production in London. This was Empty Chairs at Empty Tables - a song he always refers to as what started his musical theatre career in London! As always, it was powerfully sung. And I do remember Eddie Redmayne recalling how he used to listen to Michael Ball's iconic singing of the songs of Marius. At the Leicester Square premiere of Les Miserables, the ceremonies of which Michael annotated (he does "presenting"/hosting work on radio and TV), Eddie Redmayne gave him the classic low bow as a playful but sincere "homage" to the original Marius

Then, he started the next number by saying that Cameron Mackintosh had told him about the new song composition for the film adaptation of Les Miserables called SUDDENLY! And CM sent him a copy afterwards. He said the song had not been sung elsewhere except as performed by Hugh Jackman.

He decided to record the song as part of his next album and told Claude Michel Schonberg about it. Claude Michel said he would be happy to come and help at the recording session. Michael waxed sentimental about that session - he said that he felt the full circle has turned - he remembered that his first recording session ever was for the cast recording of the original London production ( around 1985), with Claude Michel supervising it together with Alain Boublil and Herbert Kretzmer. And here was Claude Michel being present once more, this time for his studio session to record SUDDENLY!

He said the movie was "brilliant" -- and that coming from someone who was in the original cast of the show and has actually been part of three cast recordings ( including the complete symphonic recording) as well as the 10th Anniversary concert...and who also sang the role of Valjean in a special concert at Windsor Castle for the Queen and the Prime Minister of France!

He described SUDDENLY as an Oscar- nominated song and that it " absolutely contributes hugely to telling the story of Jean Valjean"! And that it "encapsulates the beautiful and pure relationship between Jean Valjean and little Cossette"!

That comment brought home to bear the passage in the novel which describes that Valjean had two epiphanies -- finding redemption with the Bishop and finding love with little Cossette! It was glossed over in the stage production...but was well-reinstated in the screenplay for the film adaptation, including the composition of the new song to express Valjean's newfound paternal feelings.

So given that context and with Michael singing it so powerfully and so emotionally (hallmarks of Michael's singing style for dramatic songs!), that unexpectedly brought tears to my eyes! I thought it was just Hugh's heartfelt and loving rendition of the song which drew such emotions from me -- but given that the right context was given to the song, it was also very poignant to hear a concert version this time! Such a beautiful rendition -- initially accompanied only by a solo piano, then by the string section, with a heart-tugging violin rendition solo interrupting Michael's singing...and later the full orchestral accompaniment, mostly by the string section. Really breathtaking!


To cap the tribute to Les Miserables, Michael and his backing singers ended that session with "Do You Hear the People Sing" to the sheer delight of the crowd! Les Mis is really much loved smiley-love029

And I am so glad that DO YOU HEAR THE PEOPLE SING ( A La Volonte du Peuple) has been put rightfully as the anthemic song of Les Miserables ( and not One Day More), something that the film adaptation has initiated!



Sentimental Jo

[jo]

Had the Oscars not been overly political and less starry-eyed ( they thought Adele would be great for the show), SUDDENLY should have captured the true spirit of the Best Original Song award ( i.e., that it captures the sentiment of the movie ), unlike the title song for SKYFALL!

Ah, well !


Jo

[jo]

Remember this early promotional clip for LES MISERABLES?

www.youtube.com/watch?v=bx6kK3LsUpE

I can now appreciate even more the hard work that Hugh had put into the role, after having seen the movie countless times ( on the big screen -- 6 times at the cinema -- on cable - everytime I see it scheduled -- on BluRay ( can't remember how many!).

What an absolute pity that the Oscar voters did not honor Hugh for the massive work that he has done to give us a magnificent portrayal of Jean Valjean!


Jo

[jo]

Here's Michael reminiscing about SUDDENLY and how he liked the movie ( which he saw twice!) ...and his comments on the two big stars. Like Hugh, his formal training was in dramatic theatre, and he could fully appreciate the acting demands of the movie. Knowing Michael in various interviews and having met him several times, I know that he could be very candid

www.youtube.com/watch?v=cH_uO3K-G_I

Watch out for the name-dropping


Jo

[mamaleh]

I wonder what Ball felt were the "not-so-great moments" in the movie version.

Ellen

[jo]

That would be interesting to know, Ellen

Too bad I no longer travel to England much...there was a time when I did to see his stage and concert performances...and I even had a chance to visit him in his dressing room several times. The first time was actually on Broadway when he did Aspects of Love.

But let me guess ... This is all in the realm of speculations -LOL!

Michael seems like a pragmatic person. I once asked him if there was a chance he could be cast as Joe Gillis in what we thought would be a forthcoming screen version then of Sunset Boulevard( Hugh was mentioned then as the possible screen Joe Gillis). He did sing the role in the initial workshop at LloydWebber's estate, released the title song ahead of the cast recording, and then did a full concert version for BBC. He told me in all candour that they want a " star" for that one. No complaints, but just a practical appreciation that he would not expect that to happen.

Also, after he sang the Valjean role in the Windsor Castle special concert for the Queeen and PM of France, Cameron Mackintosh was trying to persuade him to sing the role again for the 25th Anniversary concert, but he declined and said he didn't think his voice ( also a high baritone) really suited the range. It was he who recommended Alfie Boe to Cameron Mackintosh. They had worked together in a revival of Kismet for the English National Opera ( which I saw 3 times ). I thought perhaps other musical theatre actors would not have turned down such an opportunity, but Michael was simply being practical. (On a pragmatic note from me -- would I have wanted Michael to be the screen Valjean...Er, NO, his acting is too theatrical for my taste - more suitable to the stage . He did a TV movie once, a biopic of the English composer Henry Purcell).

He did say that Hugh sang SUDDENLY in "a very specific" way to the movie, which I understand to mean ( because Michael seemed to have fully understood the difference between theatre staging and filmmaking/cinematic vision) in that it suited the movie perfectly ( as it involved moments when Jean Valjean came to the realization what little Cossette meant to him). If I recall right, Hugh was almost tentative initially, wondering about this good fortune that had come to him at last, in the person of this little girl. His awe became an expression of happiness when he fully realized that his life, hitherto unfulfilled, now has become brighter and promising.

I think he agreed with the casting of Valjean ( "Hugh is a hugely charismatic and powerful actor, can sing, and plays the central role who needed a protagonist") and Crowe ( not really "a musical theatre singer" but "provided the screen presence" vis-à-vis Hugh/ Valjean). I don't know - maybe Michael would have wanted a stronger singing for the Javert role ( although the first Javert in the person of Roger Allam, from The Royal Shakespeare Company, was not that great a singer) but he agreed that the acting ability and presence provided the right touch to the Valjean-Javert relationship.

I don't think he disagreed with the casting in general, but maybe he might have expected a stronger musical treatment of songs like One Day More ( I am guessing!) which was given more paramount importance in the play compared to the film... or that he would have wanted some of the songs sang in full ( A Little Fall of Rain, Drink to Me, The Red and the Black - songs which Marius sang - which were all shortened in the movie. Maybe this could be what he meant by having a " proprietorial attitude towards the musical"

I do wonder what he thought of Bring Him Home. He has recorded the song itself and I do not remember that he sang parts of it falsetto ( as he is a high baritone, not a tenor) and he recorded it in a lower key --

www.youtube.com/watch?v=WG0lI3TGOY4

But in the staging, he was the very first Marius ( who lay sleeping) as Colm sang the prayerful version the entire time in front of him, for the first year of the run. The film version had Valjean as more conflicted and more contemplative, even impassioned ( judging from his facial expression and body language) -- as he walked along, after watching the student rebels contemplate their fate ( Drink to Me), with many thoughts running through his mind ( Is Marius the right one for Cossette? Yet he is old and need to find the right man for his daughter. But Marius could die -- Dear God, spare him and let me die instead. Let him live, for my beloved Cosette!). It is an acting choice! A cinematic choice to make the scene more dramatic! ... But I am sure Michael must have laughed when he saw Hugh carry Eddie full on his back at the sewers - in the stage play, Colm was dragging him along ( Michael was much slimmer then, but would still be a heavy burden on a daily basis)

I wonder, too, if he thought the staging of EMPTY CHAIRS in the movie was more appropriate. In the musical, Michael sat in one of the chairs ( covered by a blanket on his shoulders) among the many tables in the café. In the movie, it was more stark, as Eddie sang at the place where the actual massacre of the barricade boys took place! It made the scene so much more poignant. I wonder if he thought Eddie did justice to "his" song. Btw, that song was almost cut during the previews, as Trevor Nunn tried to find a way to shorten the more than 4-hour musical then.

But he did say the movie was "brilliant" and could be considered " a perfect film" and while there were scenes that he thought were not so good, he also said there were "breathtaking ones" that were a better experience than the stage musical. Michael is considered the king of musical theatre in the West End, which is why his insights seemed to be worthwhile noting.


Lol - I will ask him when I see him next ( in my dreams -LOL!)

Jo

[jo]

Update on Samantha Barks --

She has been cast in the Donmar Production of CITY OF ANGELS.

www.westendframe.com/2014/05/samantha-barks-joins-hadley-fraser.html

I was lucky to have seen this on Broadway in the early '90s, with the original cast.

I wonder why Hugh was not interested to do the film adaptation, as mentioned by one of the composers years back. I thought that it would have been such an interesting portrayal if he portrayed both Stine, the writer, and Stone, the fictional detective

Jo

[jo]

In case you have not purchased ( or just want to have a second copy around, just in case...or maybe even as a gift idea?)) a BluRay version -- it is now available at Amazon.com for only $ 6.99 before shipping ( If it's combined with others to meet minimum no-shipping costs, now $ 35, there will be no additional costs involved)



Jo

[jo]

Revisiting "Behind the Scenes" in the creation of this magnificent musical -- the excellent creative team and the powerful cast teaming together to create this memorable film adaptation!

www.youtube.com/watch?v=e_lFp6nZkq0

After one has seen the movie a few times, there is a much finer appreciation of what the creative team and the cast have done together in this inside look! Even when one had followed the prep and filming developments very closely, the efforts that went into this adaptation cannot be fully appreciated until they are highlighted again in this video, because it seemed all so effortless when seen in the movie.

Jo