Cuts and lyric variants

Any discussion related to any production or staging of Boublil and Schönberg's Les Misérables.
collectingbees
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Re: Cuts and lyric variants

Postby collectingbees » Fri Aug 06, 2010 10:53 pm

yup, uliks! he usually is the one scolding her with knife in hand (but the fact that he's calling 'Ponine cracks me up).

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Re: Cuts and lyric variants

Postby MmeBahorel » Fri Aug 06, 2010 11:07 pm

The sexual relationship, or at least that Parnasse wanted a sexual relationship, used to get played up and even after the cuts still did, as much as was possible, when you had a willing Parnasse. At least with the US tour. (Alex Lubliner didn't but Kip Driver did, and neither of them were around pre-cuts. Matt Clemens got the transfer to swing after the cuts were in place and then I saw him mostly as all the other members of the gang but I think in all the years after, I only got him on as Parnasse again once *g*.)
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Eppie Sue
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Re: Cuts and lyric variants

Postby Eppie Sue » Fri Aug 06, 2010 11:10 pm

It's still in there in London. At least it was very much in 08/09, still remained somewhat in 09/10 and always used to get very intense and dangerous and fanon-like whenever Killian Donnelly (swing back then) got to go on as Montparnasse and Nancy was there as Éponine (and not off). Amazing.

/off topic.

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Rose In Misery
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Re: Cuts and lyric variants

Postby Rose In Misery » Fri Aug 06, 2010 11:13 pm

Eppie Sue wrote: But Éponine's motif for screaming would add a bit more to the scene and take something away from Éponine's saintly status.


I totally agree. There are many good reasons for keeping those lines in but I have to agree that it's probably the best one. The "He'll think this is an ambush..." lines are probably Éponine's most canon lines in the whole show (well, maybe apart from "I don't want your money, sir"). I don't like people going away with the idea that Éponine is this pure, saintly girl who stops the attack in spite of, rather than because of her feelings for Marius. If anyone is going to be canonized as a saint, let it be Fantine and/or the Bishop.
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Re: Cuts and lyric variants

Postby collectingbees » Sat Aug 07, 2010 1:01 am

I think besides that, having the intro to Attack on Rue Plumet gives the entire song a context. Montparnasse explaining why they're there makes more sense than them just showing up instead of "wull shucks, here's some random baddies!" (I hope that makes sense).

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Re: Cuts and lyric variants

Postby collectingbees » Sat Aug 07, 2010 1:07 am

MmeBahorel wrote:The sexual relationship, or at least that Parnasse wanted a sexual relationship, used to get played up and even after the cuts still did, as much as was possible, when you had a willing Parnasse. At least with the US tour. (Alex Lubliner didn't but Kip Driver did, and neither of them were around pre-cuts. Matt Clemens got the transfer to swing after the cuts were in place and then I saw him mostly as all the other members of the gang but I think in all the years after, I only got him on as Parnasse again once *g*.)

I remember during the 2006-7 revival with Celia, there was some serious Parnasse-smacking-Éponine's-butt action (there were many, many giggle fits because of this).

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ivrogne transfiguré
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Re: Cuts and lyric variants

Postby ivrogne transfiguré » Tue Aug 10, 2010 8:24 pm

Frédérique wrote:Has anybody been keeping track of when they kept the words but changed the tune (e.g. how the counterpoint section in "Lovely Ladies" isn't in counterpoint on the 25th Anniversary Tour and has been changed in accordance with that in London earlier this summer)? Or would that be too much to count of too little interest?


That section hasn't been in counterpoint since the changing of the words. London used to do it to a slightly different tune to the standard Lovely Ladies theme. However, on tour they changed that so it is done to the same tune as e.g. "Lovely Ladies waiting in the dark" or whichever line you want to take, and that has now been in the London production since this cast change (well, since they started rehearsing the new cast, actually).

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Re: Cuts and lyric variants

Postby Ulkis » Sat Nov 13, 2010 6:07 am

Random, but I don't like how in recent productions they've appeared to change the line "this man's done no wrong and he needs a doctor's care" to "this boy's done no wrong . . . "

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Re: Cuts and lyric variants

Postby Auf die Barrikaden » Thu Jun 09, 2011 10:23 pm

Does anyone have more information about the "chase sequence" cut from the Barbican production? In regards to lost scenes, this is the one big mystery for me. It was placed between the Waltz of Treachery and Stars, thus explaining the setting of Stars before Look Down.
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Re: Cuts and lyric variants

Postby Ulkis » Sat Sep 03, 2011 5:43 pm

Can anyone remember if Valjean sings "this man's done no wrong and he needs a doctor's care?" or if he sings "boy" instead of "man" in the US tour. I saw it more than once last fall and yet I can't remember, oy.

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Re: Cuts and lyric variants

Postby Mamselle Miss » Mon Sep 05, 2011 2:15 am

Weeeell, when I saw it this afternoon, Valjean said "man". But I got an understudy this afternoon. I think that J. Mark McVey may have said "boy", but I can't really remember either.
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Re: Cuts and lyric variants

Postby Ulkis » Mon Sep 05, 2011 9:49 pm

Yeah, I was listening to a production from 97 where they switched it to boy and then when I watched a recent video on YT the lyric was man again. I asked cause I like 'man' better because it sounds less paternal from Valjean, which is kinda silly of me considering 'Bring Him Home', but I'll take what I can get.

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Auf die Barrikaden
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Re: Cuts and lyric variants

Postby Auf die Barrikaden » Sat Jul 28, 2012 12:38 pm

In "History of the Musicals" (on youtube) Michael Ball-apart from some other funny stuff on the barricade(watch it!)- talked a bit about the Barbican Les Mis previews, mentioning a running time of 3h50min for the first one and specifically refering to the Runaway Cart scene. So I began to dig through one of the Barbican previews again. Since the topic with the Barbican transcript project over at musicals.net is archived I will post my new findings here. Any assistance in filling the gaps is very much appreciated.

RUNAWAY CART

VALJEAN
Is there anyone here who will rescue the man
Who will help me to shoulder the weight of the cart
I will pay any man [??]
I would do it myself if there's no other [??]
[??] down on the street
Can you all deny you [??knew??] nothing at all

FAUCHELEVENT
Don't help me Monsieur Mayor
[??]
[??] I would pull out and
[??] care if I should die

VOICES
Don't go near him Monsieur Mayor
[??]
[??]
Leave him alone


[...]


CASTLE ON A CLOUD

YOUNG COSETTE
They'll come back any minute
And I'm nowhere near finished sweeping and scrubbing
And polishing the floors
It's the same every day
Oh please don't let them [??look??] at me again
I should be [??] back then
I know a place where nobody has to work too hard
and where I won't be lonely again


[...]
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Trompe-la-Mort
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Re: Cuts and lyric variants

Postby Trompe-la-Mort » Sat Jul 28, 2012 12:46 pm

Here's what I understood (the bits I'm not sure of are in italics):

VALJEAN:
Is there anyone here
Who will rescue the man?
Who will help me to shoulder
The weight of the cart?
I will pay any man thirty Louis d’or more!
I will do it myself if there’s no-one of will
We can’t let him die like that down on the street
Can you all watch him die and do nothing at all?

FAUCHELEVENT
Don’t approach me, Monsieur le maire
The cart’s not gonna be holding
Not my poor mother would care
If I should die

VOICES:
Don't go near him, M le Mayor
???? nothing to do
A man’s got to be strong
????


and:

LITTLE COSETTE:
They’ll come back any minute
And I'm nowhere near finished sweeping and scrubbing
And polishing the floors
It's the same every day
Oh please, don’t let Madame hit me again
I should be used to it by then
I know I place where nobody has to work too hard
And where I won’t be lonely again
Dark sarcasm ought to be taught at schools!

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Auf die Barrikaden
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Re: Cuts and lyric variants

Postby Auf die Barrikaden » Thu Oct 04, 2012 12:18 pm

Good ear on the lyrics, I really need to stick to hear the recording with ear plugs instead of loudspeakers.

Anyways, just came across this interview with Michael Ball from 2006: http://thefleetstreetvicomte.tumblr.com ... production
Apart from this very funny barricade moment...holy moly, 4,5h preview length!!And finally an insight into the chase sequence...wow I'd love to see that done onstage. Guess the movie will at least include it. However, whenever you hear the transition from Waltz to Stars on the Barbican recording, just imagine Valjean and Cosette climbing the Paris/barricade set doubling as the wall of the Petit-Picpus while Javert chases after them...
Waltz 1985 preview: http://www.youtube.com/watch?v=NuFIQTgrH3A
Stars 1985 preview: http://www.youtube.com/watch?v=NBHHa0YdJj0
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