Then though, the problem is why Valjean wants to leave.
What I do like about the musical though is that they take a different view of that and properly explore her. I think a lot of the book put things in Marius' perspective, where Éponine's just there and Cosette is at the centre. The musical takes a more even, equal view of things which I like.
YoungStudentMarius wrote:Then though, the problem is why Valjean wants to leave.
Umm... You know that instrumental part right after Marius says, "Someone is near...Let's not be seen! Somebody's heerrree!" (I never liked that line either, because it made it seem as if Cosette and Marius were doing something wrong, so they were so intent on not being found out, when they really just never really thought to tell anyone.) What if, since we're cutting Marius' last part, that instrumental part came right after Thenardier's "Go Undergroooouuuuunnnnndddd!!!!!"
Right before and during this instrumental part, Jean Valjean could run out on the balcony, see people-like shadows diving into the sewers, and immediately flatten himself against the wall, so the audience could see him, and none of the characters could. At the same sort of time, you could have Cosette run out a side door and send Marius off, then stop short, noticing Thenardier's gang flee. Suddenly, you hit that really quiet part as the entire sewer gang, Éponine, and Marius all disappear, and then Valjean (from the balcony) would notice Cosette of all people outside as she is standing surprised, and that could prompt the "My God! Cosette! I heard a cry in the dark!..."
Then Cosette could say something along the lines of
"I heard the cry as well, papa
I was afraid of what they'd do
Who were those men
Why did they fly?"
Then you could kind of do the rest of the lines just like they are (Maybe it would work better for Valjean to say to himself "Three men I saw...," though. Either way).
Anyway, that's the only crazy complicated idea I could think of (Although it might actually be simpler then it sounds if it was onstage).What I do like about the musical though is that they take a different view of that and properly explore her. I think a lot of the book put things in Marius' perspective, where Éponine's just there and Cosette is at the centre. The musical takes a more even, equal view of things which I like.
That's why I kind of think they belong together. It seems like any problems you find with one are always fixed with the other. That why Éponine is another one of my favorite Musical characters, because she is so different and yet so similar, and I think her transformation was the most drastic of the others (Except maybe taking out all of Marius' past and making an impoverished student look like a little rich kid-- [what's up with the embroidered waistcoat and silk cravat?]), and yet it kept a lot of her character, too. It's a fine balance, and it occasionally tips on either side, but I love seeing both "center" Éponine and "shadow" Éponine.
She never will get her happy ending.
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