The Les Miserables Changelog Part 10: 1997-2001 West End variations
Hello, everyone! This is the latest edition in my attempt to chronicle all of the musical and lyrical changes which the show Les Miserables has undergone over the years. This time, we're going through the production-specific differences between the official 1997-2001 libretto and the West End production of the era.
As had been the case prior to 1997, the West End production was willing to shake things up relative to the official libretto, especially compared to American productions. The West End show continued both to add new variants not heard anywhere else, and also continued to hold on to lines that had been changed officially. As was previously the case, the West End show also made these changes very frequently, so numerous variations during this era exist. If I'm not mistaken, a few things were changed with each cast change! Without further ado, let's begin.
Circa 1997-1998 variant
Even after the second round of official changes, the prologue still uses the pre-Broadway lines:
I'd like to help you really
All I want is to be fair
As opposed to the post-Broadway ones:
I'd like to help a stranger
All we want is to be fair
In “Lovely Ladies”, the sailor still sings “Seven days at sea” instead of the official post-1997 “Seven months at sea”.
During "Fantine's Arrest", Bamatabois without exception uses the "ugly slut" line instead of the "little whore" one in the West End post-1997.
A new change can be heard later in the number. Usually, Valjean sings "I will see it done" three times in response to Javert's protests against helping Fantine. While the first and last ones are maintained, the second is replaced in this era with a spoken "Take her to the hospital!" It sounds slightly awkward, but otherwise I really like it. It makes it clearer to Javert where exactly Valjean wishes Fantine to be, and makes his lines less repetitive as well.
During "Who Am I?" the West End production without exception does NOT use Valjean's "You will find me at the hospital!" This is interesting since it was once one of the very few productions that did have him speak after the number in the show's early days!
Everything goes as usual until the preamble to "Master of the House". The original lines were as follows:
Landlord over here
Where's the bloody man
One more for the road
One more slug of gin
The 1997 libretto slightly edited the sequence into this:
Where's the wretched man
Landlord over here
One more for the road
One more slug of gin
The West End production maintained the original order, but did change "bloody" to "wretched" so that the sequence goes as follows:
Landlord over here
Where's the wretched man
One more for the road
One more slug of gin
The next change occurs during the Well Scene. Instead of just saying Cosette's name after she reveals it, Valjean proclaims, "Come my child, I'm taking you home" afterwards. I really like this bit; it makes him appear far warmer right from the get-go.
During "Look Down", the beggar's pre-Broadway "Something gotta happen, dearie" line is still being used!
As had long been the case, the West End production used the variant of "Stars" introduced in the Australian tour, with "Fallen from God", the lack of conjunctions, and "And so it must be!"
"The Attack on Rue Plumet" still has the pre-Broadway "To watch a cat and its father" instead of "To see a cat and its father".
Everything in Act Two plays out as usual.
Circa 1998-1999 variant
This is almost identical to the 1997-1998 variant. The one exception: Prior to "Drink with Me", Enjolras' "For tomorrow's fight" is reverted to the pre-1997 "For the final fight".
Circa 1999-2000 variant
This is also very close to the 1997-1999 versions, with the exception of finally adapting to many official libretto changes. The prologue, "Look Down", and "The Attack on Rue Plumet" are at long last all sung as officially written! The "Master of the House" preamble is now fully in its official post-1997 state.
Moreover, "Drink with Me" is slightly edited. Grantaire's post-1997 line was officially as follows:
Will the world remember you when you fall?
Can it be your life means nothing at all?
Will your death be one more lie?
This version changes his last line to:
Is your death just one more lie?
This is something of a callback to the pre-1997 show, in which Grantaire sings "Is your life just one more lie?"
Circa 2000 variant
This is yet again very close to the 1999-2000 show, with a few changes. Firstly, Valjean's remarks after the Well Scene become "Come Cosette, I'm taking you home" instead of "Come my child". I have no idea if this is a personal change on Simon Bowman's part or one decided upon by the company.
Additionally, "Drink with Me" is now totally reverted to its pre-1997 self. Instead of Grantaire singing:
Can it be your life means nothing at all?
Is your death just one more lie?
He once again sings:
Can it be your death means nothing at all?
Is your life just one more lie?
Circa 2000-2001 variant
This is also very close to the 2000 show, once again with a few differences. Valjean's "Take her to the hospital!" during "Fantine's Arrest" is again changed to the official "I will see it done!"
Additionally, Valjean no longer has any remark after the Well Scene aside from his usual statement of Cosette's name.
That just about sums this part up! If I missed anything feel free to let me know, as my goal is to create a changelog as thorough and complete as possible. I plan on making more parts in the near future covering all the changes that have been made in the show up until this day (discounting concerts). Any feedback and constructive criticism is very much appreciated.
As a side note, both for this project and my own enjoyment, I want as complete a collection of Les Miserables audios as possible. I already have most of what’s commonly circulated, but if you have any audios or videos you know are rare, I’d love it if you DMed me!
Until the turntable puts me at the forefront again, good-bye…
The Les Miserables Changelog Part 9: 1997-2001 American variations
Hello, everyone! This is the latest edition in my attempt to chronicle all of the musical and lyrical changes which the show Les Miserables has undergone over the years. This time, we're going through the production-specific differences between the official 1997-2001 libretto and the third national tour and Broadway productions of the era.
As had been the case prior to 1997, the "Marius Company" tour and the Broadway show seemed to be closely connected to each other. They tended to use the same variations as each other, and while the American show definitely tried fewer new things lyrically speaking than the West End production did, it was a little more daring than its pre-1997 self. One notable difference is that the tour took significantly longer to adapt to changes than the Broadway production did. It held on to the version of the libretto prior to the second round of 1997 changes until around May-June 1998. Similarly, it continued to use the later 1997 libretto until around March-April 2001, whereas the Broadway production had infamously moved to a shortened libretto in December 2000.
With all that cleared up, let's get started!
As had been the case since 1987, American Javerts continued to sing "And I am Javert" instead of "And I'm Javert" in the opening number for some reason.
This isn't an official lyrical change or anything, but I still think it's worth noting that in the prologue Valjean no longer screams his "fliiiiiiiight!" line in American productions. He just speaks "took my flight" in a rather anticlimactic way. I guess it's less cheesy, but is also way less exciting.
There are a few parts of the libretto that present various options, and the Broadway and third national tour shows are always consistent in their choices. As has previously been mentioned, the 1997 libretto by default has Bamatabois call Fantine "you ugly slut", but gives his original "you little whore" as an alternate line. American productions during this era without exception gave him the latter line.
An interesting variation occurs during "The Runaway Cart". The line after "Don't approach, don't go near", as has been discussed, has changed a lot. It had previously taken the forms of:
At the risk of your life
And:
It'll fall on you too
Before the 1997 libretto made it as follows:
It's that load, it'll fall
Well, the Broadway and US tour productions changed it AGAIN, into:
That load's gonna fall
I guess it was supposed to sound more natural than the official line, though it annoys me that it's the wrong number of syllables.
Another option presented by the libretto is the presence or absence of Valjean's "You will find me at the hospital!" after "Who Am I?" Without exception, American productions during this era did include this line.
A very small change occurred after "Castle on a Cloud". Whereas Mme. Thenardier officially has always said "Now look who's here", these productions gave her the line "Well look who's here". Small as it may be, I actually like this change a lot. I feel like it sounds more casual and less... I don't know, literary, which is more consistent with Mme. Thenardier's character.
Initially, the show continued to have Thenardier pause and then remember Cosette's name during the "Waltz of Treachery". However, around late 1997, the American productions adapted the version that had already been used in the West End for a couple years, in which he mistakes her name as "Colette", is corrected by Mme. Thenardier, and finally speaks her name correctly.
I've previously mentioned the many variants of the beggars' lines in "Look Down". Officially, post-1997 they are as follows, with female beggars singing all the lines except for the final one, which is sung by a male beggar:
When's it gonna end
When're we gonna live
Something's gotta happen now
Something's gotta give
American productions apparently noticed the improper amount of syllables, and compensated by adding an "or" again to the final line:
When's it gonna end
When're we gonna live
Something's gotta happen now
Or something's gotta give
This is something of a callback to the 1987-1997 libretto, in which the entire crowd sings "Something's gotta happen now or something's gotta give". The "or" really ought to be the end of the third line instead of the beginning of the fourth; consequently, it's a little awkward to hear the last beggar's line begin so early. Still, I prefer this variant over the official syllable-deprived one.
As had always been the case, Thenardier's and Montparnasse's "wot" lines in "The Robbery" and "The Attack on Rue Plumet" respectively are replaced with the less region-specific "that".
The next notable discrepancy can be heard before "The Attack on Rue Plumet". Officially Montparnasse claimed that Valjean has "Got a number on his chest". As an earlier national tour had, the Broadway and US tour shows instead had him sing "Got a brand upon his chest". This accounted for a change in staging; whereas pre-1997 Valjean literally had "24601" branded on his chest, post-1997 Valjean just had a generic bar. I find it interesting that the change from "number" to "brand" was only regional; it seems like an obvious edit to make to the official libretto, yet is never ended up as one.
That just about sums this part up! If I missed anything feel free to let me know, as my goal is to create a changelog as thorough and complete as possible. I plan on making more parts in the near future covering all the changes that have been made in the show up until this day (discounting concerts). Any feedback and constructive criticism is very much appreciated.
As a side note, both for this project and my own enjoyment, I want as complete a collection of Les Miserables audios as possible. I already have most of what’s commonly circulated, but if you have any audios or videos you know are rare, I’d love it if you DMed me!
Until the turntable puts me at the forefront again, good-bye…
The Les Miserables Changelog Part 8: 1997 Broadway 10th Anniversary
Hello, everyone! This is the latest edition in my attempt to chronicle all of the musical and lyrical changes which the show Les Miserables has undergone over the years. After a few consecutive editions focused on regional choices, we're finally back to official libretto distinctions. Specifically, this edition covers a substantial rewrite that occured in 1997.
To fully understand the circumstances in which this rewrite took place, it is useful to look at some background information. The original Broadway production of Les Miserables was definitely not its most popular production from an audience perspective. The cast tended to be judged as inferior to touring and international productions. Moreover, cast members often stayed in Broadway productions for very long time periods, leading many to question the show's freshness.
Consequently, there was a large-scale firing to the point that, in January 1997, every principal cast member was let go except for Christopher Innvar (Javert). For the next month and a half, the third national tour cast would perform on Broadway.
March 12, 1997 marked exactly ten years since the original Broadway production opened. To mark this occasion (and perhaps to direct attention away from the questionable ethics of essentially firing an entire workforce on short notice), a new cast would officially take over from the third national tour cast on this day. Not only this, but the show which this new cast would perform was freshened significantly (an update that would also be applied to all existing and new replica productions worldwide soon afterwards). The blocking was adjusted to give off more energy, the lighting was digitized and made more complex, the sound effects were made more realistic, the sets and costumes were refurbished and in some cases changed... and the libretto received many edits. Let's get into what actually was changed...
Oh, and as a side note, not all of the changes were made simultaneously. Most were, but a few small edits (mostly musical cuts) were made later in 1997. I suspect that, in acknowledgement of Cameron Mackintosh's reservations prior to the original London productions as well as a warning of what would come in a few years' time, those cuts may have been made in order to reduce overtime costs to crew members. That is only a theory of mine, however; please take it with a grain of salt.
Anyway, let's get our analysis started!
1997 Update #1
The first libretto change (in a sense) occurs during "Lovely Ladies". Granted, this is a change that had already been applied unofficially in the Broadway and West End productions; however, I'm not sure if it was ever used in the US Tour previously. Originally this was the lyrical sequence:
(SAILORS - simultaneously with prostitutes’ lines)
Lovely lady, fastest on the street
Wasn’t there three minutes
She was back up on her feet
Lovely lady, what you waiting for
Doesn’t take a lot of savvy just to be a whore
Come on lady, what’s a lady for?
(PROSTITUTES - simultaneously with sailors’ lines)
Lovely ladies, lovely little girls
Lovely ladies, lovely little ladies
Lovely girlies, lovely little girls
We are lovely, lovely girls
Lovely ladies, what’s a lady for?
The sequence was finally officially replaced with the following exchange (that was more or less invented for the 1992 UK tour):
(PROSTITUTE)
God I’m weary, sick enough to drop
Belly burns like fire
Will the bleeding ever stop?
(PIMP)
Cheer up dearie, show a happy face
Plenty more like you, dear
If you can’t keep up the pace
(PROSTITUTE)
Only joking, dearie knows her place
Interestingly, this officially version uses "Will the bleeding ever stop" as the West End and Broadway production previously did (as opposed to the 1992 "Will the bleeding never stop"); however, it also uses "you, dear" from the 1992 edit, as opposed to "you here" as had been used in the West End and Broadway productions. However, many individuals continued to sing "you here" for many years to come.
In "Fantine's Arrest", Bamatabois originally declares:
You've got some nerve, you little whore
You've got some gall!
The 1992 UK tour introduced the following variation, which had also been used in the West End production prior to this edit:
You've got some sauce, you ugly slut
You've got some gall!
The 1997 libretto combined these two versions into the following line:
You've got some nerve, you ugly slut
You've got some gall!
However, the original "Little whore" was maintained in the libretto as an alternate lyric. I do like how "little whore" actually rhymes with the preceding line ("I won't pay more"), though "ugly slut" does carry more threat. The West End production went with "ugly slut" after this libretto change, while other productions stuck to "little whore" for the time being.
Note that the rest of "Fantine's Arrest" plays out the same as it had since 1986, and did not include any of the other 1992 UK tour variations.
Right off the bat, "The Runaway Cart" is different in this version. The scene now begins with a sound effect of a horse's neigh, a nice little touch that brings one far more in the moment than one might otherwise be (particularly since modern audiences likely wouldn't immediately envision a horse when hearing about a crash). Moreover, the original yell of "Look out! It's a runaway cart!" has been eliminated in favor of more improvised remarks.
The townspeople's remarks mostly are consistent with the 1992 UK tour edit, with one exception. This is how the UK tour lyrics (which were also used in the West End production) went:
Look at that
Stay away
You’ll be crushed by the cart
Don’t approach
Don’t go near
It’ll fall on you too
Oh my god, who is that?
It’s Monsieur Fauchelevent
He is caught by the wheel
Oh the pitiful man
There is nothing to do
The version used on Broadway and in the US tour in the mid-90s was as follows:
Look at that
Stay away
You’ll be crushed by the cart
Don’t approach
Don’t go near
At the risk of your life
Oh my god, who is that?
It’s Monsieur Fauchelevent
He is caught by the wheel
Oh the pitiful man
There is nothing to do
The 1997 libretto cemented the scene as follows:
Look at that
Stay away
You’ll be crushed by the cart
Don’t approach
Don’t go near
It’s that load, it'll fall
Oh my god, who is that?
It’s Monsieur Fauchelevent
He is caught by the wheel
Oh the pitiful man
There is nothing to do
I really like how much clearer in meaning the changed line is, although a part of me still has a soft spot for the rhyme scheme of the UK tour.
The crowd's response to Valjean's plea for help has been changed. Since 1987, this is how it went:
Don't go near him, Monsieur Mayor
The load is as heavy as hell
The old man is a goner for sure
It will kill you as well
The 1997 libretto edited the penultimate line:
Don't go near him, Monsieur Mayor
The load is as heavy as hell
If you touch it the whole thing will fall
It will kill you as well
I suppose the revised lyric makes it clearer what exactly the danger is. On the flip side, though, the line "It will kill you as well" feels a bit less natural. Originally it meant "it will kill you as well as the other man who will be killed"; a fairly natural progression. Now, though, it essentially means "it will kill you as well as falling". This does make sense, but it doesn't really sound like a phrasing any real person would actually use.
The rest of the cart crash scene plays out as it did in the original version (not the UK tour version).
"Who Am I?" starts out differently right off the bat. These are the original opening lyrics:
He thinks that man is me
He knew him at a glance
The 1997 libretto uses these lyrics instead:
He thought that man was me
Without a second glance
The revised lyrics make ever-so-slightly more sense, since "knew him at a glance" implies a degree of correctness that obviously is false in this context. Having said that, I do slightly prefer the present tense of the original, since the fact that this false belief is continuous is integral to Valjean's dilemma. The revised lyrics give it a sense of the past that isn't really appropriate to the context.
Soon afterwards, a small lyrical edit makes the implications of the dilemma itself quite a bit different. Originally, after reflecting on the future employment of his works, Valjean repeated the same lyrics he sung earlier:
If I speak, I am condemned
If I stay silent, I am damned
The 1997 libretto tweaked the remark a bit:
If I speak, they are condemned
If I stay silent, I am damned
Only two short words are changed, yet the substance of his worry is completely different! Originally, Valjean's reservations are based primarily on how he would be viewed if he failed to provide his workers with the employment they need. Now, however, he is much more selfless, and is actually worried directly by their well-being. Much more appropriate given that Valjean is supposed to be such a redeemed man!
The West End production had once given Valjean the "You know where to find me!" line after "Who Am I?" and the Australian tour had given him the line "You will find me at the hospital St. John!" However, these were not official libretto remarks, and at least since 1987 he officially remained silent after his high note. This changed in the 1997 libretto, in which an optional line based heavily on the Australian tour one follows the number: "You will find me at the hospital!"
For the next five years, American productions generally would generally the line while, ironically given the production history, the West End show would not.
Since 1986 or so, the "Confrontation" number began with a bar of instrumentals, before Javert began his "Valjean, at last..." line. No more; the 1997 libretto has him begin singing acapella. Only during the second syllable of "Valjean" do the instrumentals start.
The next edit can be heard during the preamble to "Master of the House". A few lines are adjusted among the inn customers. Originally this is how the scene went:
Landlord over here
Where's the bloody man?
One more for the road
One more slug of gin
Just one more
Or my old man is gonna do me in!
The 1997 libretto made it as follows:
Where's the wretched man?
Landlord over here
One more for the road
One more slug of gin
Just one more
Or my old man is gonna do me in!
I suppose the change from "bloody" to "wretched" was probably intended to make the show more accessible to non-British audience, since "bloody" does not seem to be a word frequently used in America or other countries. (Weirdly though, Thenardier keeps his "always pissed as newts" line from earlier; one would expect the word to be replaced with "drunk" or something along those lines!)
The change in order of the first two lines in the excerpt I quoted strikes me as odd. The original sequence of lines allows "man" and "gin" to form of a sort of off-rhyme, something lost with the 1997 order of lines. Did the writers decide that the off-rhyme was so awkward that it would sound better if they just didn't try at all? Who knows...
What is probably this libretto's most significant change in the entire musical happens right before the "Waltz of Treachery". While the original Barbican run had a rather extensive Well Scene, since the West End transfer the "Waltz of Treachery" just began with Valjean and Cosette's humming duet to the tune of "Castle on a Cloud". A short but lovely little scene was added between Valjean and Cosette in the 1997 libretto:
(VALJEAN)
Hush now, do not be afraid of me
Don't cry, show me where you live
Tell me my child, what is your name
(INSTRUMENTALS)
(COSETTE)
I'm called Cosette
(VALJEAN)
(*spoken*) Cosette...
The usual humming duet immediately follows. This scene gives some much-appreciated context to the "Waltz of Treachery", and to Valjean and Cosette's relationship as a whole. Honestly it feels a little incomplete to me nowadays when I listen to the audio of pre-1997 performances of the show. Valjean actually meeting Cosette seems like such an important detail to include! John Caird agreed with me evidently. To quote page 143 of 1990's The Complete Book of Les Miserables:
"If ever there is an amended English version of the show he would like to reinstate the Cosette-Valjean meeting. 'It was beautifully written - one of the most moving scenes in the show,' he says. 'It was taken out for technical reasons, but the well scene was moving and could have stayed.'"
It's heartwarming to see that Caird got his wish. I do wonder what exactly those technical reasons were, and whether or not the revised staging may explain why it could finally be reinstated.
On the flipside, there is a noticeable cut after the "Waltz of Treachery". After Valjean's "There's a castle just waiting for you", the 1987 libretto has about sixteen seconds of instrumentals to the tune of the number, followed by a reprise of Valjean and Cosette's humming duet. This is in turn followed by about eighteen more seconds of instrumentals, which transition into the "Look Down" number.
The 1997 libretto removes the reprise of the humming duet. Now, after "There's a castle just waiting for you", the eighteen latter seconds of instrumentals immediately play, and "Look Down" begins right afterwards. Although this leads to a more energetic change of scenery, I must say that the Thenardier's inn segment of the show feels a bit unresolved without the closing recollection of "Castle on a Cloud".
After Gavroche's opening lyrics to "Look Down", there was originally a musical sequence which played and then was repeated twice before the argument between the beggar woman and the prostitute. However, the 1997 libretto reduced this part so that it is only repeated once.
The same number soon takes a cue from the original pre-Broadway script. After the exchange between the beggar woman and the prostitute, this was the original exchange (which was still being used in the West End production at the time). Each line is a solo, with the latter one being sung by a male and the other three by females:
When's it gonna end?
When're we gonna live?
Something's gotta happen, dearie
Something's gotta give
However, the Broadway production had changed it to an ensemble piece:
When's it gonna end?
When're we gonna live?
Something's gotta happen now or
Something's gotta give
The 1997 libretto brought it back to solo lines, once again with women singing the first three lines and a man singing the last:
When's it gonna end?
When're we gonna live?
Something's gotta happen now
Something's gotta give
I've already noted in the past that I like the scene better as an ensemble piece. Oh well... It also slightly bugs me that the amount of syllables so much less naturally given that the third line loses a syllable. As we'll get into in later editions of this blog, a lot of producers apparently agreed with me, because a lot of productions slightly edited the exchange!
A more subtle difference is audible later in "Look Down". Previously, the line "Something for a crust of bread in Holy Jesus' name" was sung by the ensemble along with the rest of the "See our children fed..." segment. However, the 1997 libretto changed it into a solo line sung by a single beggar woman (despite the rest of the segment remaining an ensemble piece).
This edit was made to account for a change in staging. Prior to 1997, Marius and Enjolras stood on the ground, and the beggars began surrounding them while singing the ensemble piece. It made since for the entire thing to be a group effort. However, since 1997, Marius and Enjolras instead stand on the second level of the set, where they sing their lines to the beggars down below. The beggar woman with the "Something for a crust of bread" line walks by them on the set's second level, explaining why she along sings the line now.
As a side note, the 1987 Australian tour had previously made this exact same lyrical change. This makes me wonder if that production made a similar staging change earlier.
In "The Robbery", after Thenardier's "No mistakes, my dears!" there is originally a bar of instrumentals before Mme. Thenardier starts singing. Post-1997, she starts singing immediately after Thenardier finishes singing his line.
A change in the music was made to "The Robbery" alongside a staging change later in the number. Prior to 1997, Thenardier's con job was staged with him standing with a cane and hiding his right leg, making him look like he was missing a leg. This strikes me as an odd holdover from the pre-Broadway lyrics, in which the actual substance of his plea reflects his missing leg. However, the 1997 staging made it so that he is sitting down while turning the crank on a music box. The instrumentals to this part of the musical were simplified and made more synthetic in order to sound as though they were coming from the music box. I am not a fan of this change at all; it's far too self-aware for me to take the scene remotely seriously.
A change to "Red and Black" that was already widely used before this point was solidified into the show. Instead of opening with the first chords of the number, it now officially opens now with the sting that was introduced in the 1992 UK tour and which was later adapted into Broadway, the third national tour, and most international productions. For many years post-1997, it can be heard in every replica production.
To quote myself from part five of this blog:
"If I’m not mistaken, this musical addition was placed in to account for a change in staging. Originally the number began with the barricade set sliding off-stage, revealing the ABC cafe set behind it. However, around the time of this tour the blocking was adjusted. Now, the turntable instead revolved at the beginning of this number, revealing the ABC cafe set on the other end of the turntable and allowing the barricade set to double as the walls of the cafe. I believe the opening sting was added to allow time for this slightly more elaborate staging."
An extremely subtle difference occurs later during "Red and Black". Originally, Enjolras sings:
The color of the world
Is changing day by day
However, since 1997 he instead sings:
The colors of the world
Are changing day by day
This is a tiny change, to the point that it took me probably a few dozen listens of both pre-1997 and post-1997 audios to pick up on the distinction. Small as it may be, though, it's a very welcome edit. Given that the song revolves around more than one color (to the point that both colors are literally in the title), I honestly find it baffling that the lyric was ever written in the singular, let alone that it managed to hold onto that version for over a decade!
"Lamarque is Dead" is edited so that its lyrics are now consistent with the 1992 UK tour ones, as well as West End performances after that tour. Originally the lyrics were as follows:
On his funeral day they will honor his name
It’s a rallying cry that will reach every ear
In the death of Lamarque we will kindle the flame
They will see that the day of salvation is near
The time is here…
However, the 1997 libretto made them into what the West End and UK tour productions were already using:
On his funeral day they will honor his name
With the light of rebellion ablaze in their eyes
From their candles of grief we will kindle our flame
On the tomb of Lamarque shall our barricades rise
The time is here…
I generally prefer the revised lyrics, as I've discussed in earlier editions of this blog.
"The Attack on Rue Plumet" contains a couple of edits. Originally, Thenardier sings to Brujon:
You shut your mouth
Give me your hand
Post-1997, he instead sings:
You shut your mouth
You'll get what's yours
This edit was another that was partially made for the sake of a staging stage. In the original blocking, Thenardier and the gang are trying to climb over Valjean's gate, and Brujon would literally be using his hand to help Thenardier out. However, the 1997 staging changes things so that the gang is trying to pick the lock. This is much less of a group effort for obvious reasons.
Additionally, the new lyric has slightly more threatening undertones, given its implications of either positive or negative outcomes depending on how helpful Brujon actually is.
Later in the number, after Eponine's scream, Thenardier's reaction takes some cues from the original libretto. Pre-Broadway, these were the lyrics (which were still used in the West End at the time):
Make for the sewers, don't wait around
Leave her to me, go underground
You wait my girl, you'll rue this night
I'll make you scream, you'll scream alright!
Post-1987, this was the sequence instead:
You wait my girl, you'll rue this night
I'll make you scream, you'll scream alright!
Leave her to me, don't wait around
Make for the sewers, go underground
The 1997 edit essentially combined elements of those two versions:
Make for the sewers, go underground
Leave her to me, don't wait around
You wait my girl, you'll rue this night
I'll make you scream, you'll scream alright!
So the lines remain in the post-1987 form, but they are ordered in their pre-1987 form. I've already mentioned that I prefer the 1987 ordering of things, though the 1997 version isn't bad either.
Compared to the first act, the second one has much fewer changes. The first one comes not until the "First Attack" sequence. Before 1997, this was the students' response to their first victory:
(LESGLES)
See how they run away
(GRANTAIRE)
By God, we've won the day
The 1997 libretto changed it to the following:
(LESGLES)
See how they turn and run
(GRANTAIRE)
And so the war was won
I admit I prefer the original lyrics to this one. Grantaire's revised lyrics lack the incredulous spirit of the earlier ones, and the almost narrator-esque out-of-the-moment quality to his post-1997 lyrics is grating.
Later, prior to "Drink with Me", Enjolras speech is slightly changed. Originally he declares:
We must be ready for the fight
For the final fight
Let no one sleep tonight
The 1997 libretto makes his words as follows:
We must be ready for the fight
For tomorrow's fight
Let no one sleep tonight
Although "the final fight" has a climactic air that "tomorrow's fight" lacks, I suppose it is more realistic that Enjolras would have no way of knowing whether there will be more to come after the next battle.
Grantaire's lyrics in "Drink with Me" are edited a bit. Since 1987, this was what he sung:
Will the world remember you when you fall?
Can it be your death means nothing at all?
Is your life just one more lie?
The 1997 libretto edited it into the following:
Will the world remember you when you fall?
Can it be your life means nothing at all?
Will your death be one more lie?
Not terrible, but in my opinion the previous lyrics were far more effective. It makes much more sense to me for one's life to be described as a lie than one's death. The original lyric implies that the students' deaths are for nothing, and that their lives are meaningless. I suppose that is still the message of the revised lyrics, but they strike me as a bit obtuse for my taste.
That's it for the edits in this part (unless you count the official addition of the "You raised my child in love" and "I'll lead you to salvation" variation in the epilogue, which had already been used worldwide for a few years anyway).
But this did not mark the end of the chapter of the Les Mis saga. As I've mentioned earlier, a few edits were made in later months of 1997. So let's look at:
1997 Update #2
The first variation that can be heard in this version occurs during "Lovely Ladies". The "God, i'm weary..." sequence is originally sung in exactly the same tune as the rest of "Lovely Ladies". However, this edit changed it into a slightly different variation of the tune. In my opinion this is a definite improvement. As I mentioned in a previous edition of this blog, while thematically the sick prostitute scene is more fitting than the scene it replaced, it can potentially feel awkward when it's the sole part of the song in its tune not to feature the phrase "lovely ladies". Putting it in a different tune makes its out-of-place vibe feel intentional. In a way, its slightly different sound cements the idea that the prostitute is sick and is not functioning in the same way she ordinarily would.
The first of a few cuts occurs before "Eponine's Errand". Originally, it begins with a few seconds of instrumentals before Eponine starts singing. However, starting with this edit, Eponine begins singing acapella. Not until her first verse is finished do any instrumentals come in. I slightly prefer the version with instrumentals, but it still works alright.
The next cut happens during the opening barricade scene to the second act. Originally, Lesgles' "They will do what is right" is followed by a few seconds of instrumentals before Marius sings his "Hey little boy..." line. However, this edit removed those instrumentals, meaning Marius starts right after Lesgles stops singing. Truth be told I've always found that scene boring, so I can't say I object to cutting it down by a few seconds!
The last cut occurs after "Dawn of Anguish" and before Gavroche's death scene. The "Drink with Me" reprise after the former number originally is followed by an instrumental reprise of the chorus of "Castle on a Cloud". This is then followed by the closing notes to "Drink with Me". However, this edit makes it so that the reprise ends quickly, going right to the ending notes of "Drink with Me" without any "Castle on a Cloud" chords. I definitely prefer the original; it feels so much more emotional and reflective. I've been told it also holds some context to the original book of Les Miserables, though I don't know much more given that I have not yet read the book.
That just about sums this part up! If I missed anything feel free to let me know, as my goal is to create a changelog as thorough and complete as possible. I plan on making more parts in the near future covering all the changes that have been made in the show up until this day (discounting concerts). Any feedback and constructive criticism is very much appreciated.
As a side note, both for this project and my own enjoyment, I want as complete a collection of Les Miserables audios as possible. I already have most of what’s commonly circulated, but if you have any audios or videos you know are rare, I’d love it if you DMed me!
Until the turntable puts me at the forefront again, good-bye…
The Les Miserables Changelog Part 7: 1987-1997 American variations
Hello, everyone! This is the latest edition in my attempt to chronicle all of the musical and lyrical changes which the show Les Miserables has undergone over the years. This time, we're going through the production-specific differences between the official 1987-1997 libretto and the US tour and Broadway productions of the era.
Compared to the West End production, American ones took far fewer liberties relative to what was in the libretto. For the most part, they stuck with what they were told to do. This makes the variations that did crop up all the more fascinating, and I think they are absolutely worthy of a post. Without further ado, let's get started!
Second National Tour
1988-1991
To the best of my knowledge, this is the first US production to feature any variation from the 1987 libretto. The only one I'm aware of: the original "Got a number on his chest" becomes "Got a brand upon his chest" prior to "The Attack of Rue Plumet". This would later be applied to other productions after the costumes were slightly tweaked so that Valjean now has a generic bar on his chest instead of the number "24601". Similarly, it seems as though this production may not have had the normal number for some reason?
Broadway and Third National Tour
Everything from this point downwards refers to these two productions, which seem to have been very much connected as they tended to make the same changes around the same times.
Circa 1988-1989 version
During the "On Parole" segment of the prologue, as Valjean takes his flight a voice can be heard shouting "Stop that man!" I suppose it makes sense that someone would send an alert about his presence, though it sort of distracts from Valjean's high note.
Much like the West End production at the time, these production changed the order of lines in "At the End of the Day". Usually the lines go as follows:
What is this fighting all about?
Will someone tear these two apart?
These productions instead put them in the following order during this timeframe:
Will someone tear these two apart?
What is this fighting all about?
I honestly have no clue what exactly is the purpose of swapping those two lines; nothing seems changed at all in spirit or meaning.
After "Red and Black", Gavroche now whistles prior to announcing General Lamarque's death.
That's literally it... everything else sticks to the libretto.
Circa 1989-1991 version
This is almost identical to the preceding version. One difference: a little joke has been added to the "Waltz of Treachery". Instead of just singing "Let's not haggle for darling Cosette", Thenardier pauses for quite some time, singing: "Let's not haggle for darling... Cosette".
Circa 1991-1994 version
"At the End of the Day" is now in its official format. However, the "Stop that man" line, Gavroche's whistle, and Thenardier's forgetfulness are all still present.
Circa 1993-1994
This variant was only used on Broadway, seemingly not the US tour. It is very close to the 1991-1994 version, with a few differences.
The first difference, which draws on the 1992 UK tour and then-current West End variations, can be heard in "The Runaway Cart". Officially these were the lyrics spoken by townspeople:
Look at that
Look at that
It's Monsieur Fauchelevent
Don't approach
Don't go near
At the risk of your life
He is caught by the wheel
Oh the pitiful man
Stay away
Turn away
There is nothing to do
There is nothing to do
This was the UK tour variant:
Look at that
Stay away
You'll be crushed by the cart
Don't approach
Don't go near
It'll fall on you too
Oh my god, who is that?
It's Monsieur Fauchelevent
He is caught by the wheel
Oh the pitiful man
There is nothing to do
The US productions at this point almost used those lyrics:
Look at that
Stay away
You'll be crushed by the cart
Don't approach
Don't go near
At the risk of your life
Oh my god, who is that?
It's Monsieur Fauchelevent
He is caught by the wheel
Oh the pitiful man
There is nothing to do
Interestingly, the lyrics are identical to their revised form except that the original "At the risk of your life" is maintained instead of "It'll fall on you too". Perhaps the producers thought the scene was more suspenseful without a rhyme scheme?
Regardless, the remainder of the number plays out as was in the libretto, not using the UK tour and West End variants.
Now, prior to "Red and Black" the little sting introduced in the UK tour (and soon added to foreign language productions) is also audible in the Broadway show. To quote myself from Part 5 of this blog:
"If I’m not mistaken, this musical addition was placed in to account for a change in staging. Originally the number began with the barricade set sliding off-stage, revealing the ABC cafe set behind it. However, around the time of this tour the blocking was adjusted. Now, the turntable instead revolved at the beginning of this number, revealing the ABC cafe set on the other end of the turntable and allowing the barricade set to double as the walls of the cafe. I believe the opening sting was added to allow time for this slightly more elaborate staging."
Gavroche no longer whistles before announcing General Lamarque's death.
Circa 1994-1997 version
Used in both the tour and on Broadway, this version is the first time the US tour production actually diverges from the libretto to a significant extent. It uses the changes added in Broadway in 1993, along with some others.
The "Stop that man" line is still present in the prologue.
The 1993-1994 version of "The Runaway Cart" is still used.
Thenardier continues to forget Cosette's name during the "Waltz of Treachery".
The sting before "Red and Black" continues to play.
Calling on the UK tour and West End production, after "Night of Anguish" the instrumental "Drink with Me" tune has been removed. In its place, instrumentals of "A Little Fall of Rain" have been put in, as they already had been in the UK tour and the West End production.
Everything goes as expected right up until the epilogue. The official "And lead me to salvation" was replaced with "I'll lead you to salvation", which had already been used in the Australian and UK tours.
Circa 1997 version
This version (which was seemingly only used for a few months, if even that long) is almost identical to the previous one, with one significant difference. Drawing on the UK tour and the West End production, a sequence in "Lovely Ladies" was totally redone. Instead of the official libretto scene between sailors and prostitutes:
(SAILORS - simultaneously with prostitutes' lines)
Lovely lady, fastest on the street
Wasn't there three minutes
She was back up on her feet
Lovely lady, what you waiting for
Doesn't take a lot of savvy just to be a whore
Come on lady, what's a lady for?
(PROSTITUTES - simultaneously with sailors' lines)
Lovely ladies, lovely little girls
Lovely ladies, lovely little ladies
Lovely girlies, lovely little girls
We are lovely, lovely girls
Lovely ladies, what's a lady for?
There's this exchange between a prostitute and a pimp:
(PROSTITUTE)
God I'm weary, sick enough to drop
Belly burns like fire
Will the bleeding ever stop?
(PIMP)
Cheer up dearie, show a happy face
Plenty more like you here
If you can't keep up the pace
(PROSTITUTE)
Only joking, dearie knows her place
Side note: I only have evidence of this variant being used on the Broadway show, from January 1997. I have no idea if it was ever used in the US tour; the latest audio of the tour pre-official libretto change that I have is from December 1996, and it still uses the original lyrics.
And... that's it. See what I mean when I say the American productions didn't diverge that much from the libretto?
That just about sums this part up! If I missed anything feel free to let me know, as my goal is to create a changelog as thorough and complete as possible. I plan on making more parts in the near future covering all the changes that have been made in the show up until this day (discounting concerts). Any feedback and constructive criticism is very much appreciated.
As a side note, both for this project and my own enjoyment, I want as complete a collection of Les Miserables audios as possible. I already have most of what’s commonly circulated, but if you have any audios or videos you know are rare, I’d love it if you DMed me!
Until the turntable puts me at the forefront again, good-bye…
The Les Miserables Changelog Part 6: 1987-1997 West End variations
Hello, everyone! This is the latest edition in my attempt to chronicle all of the musical and lyrical changes which the show Les Miserables has undergone over the years. This time, we're going through the production-specific differences between the official 1987-1997 libretto and the West End productions of the era.
Compared to American productions, the West End production was NOT afraid to improvise a little relative to what the books said. It was simultaneously willing to hold on to things the official libretto abandoned, and to add in details not done elsewhere. (Incidentally this reportedly was true with the staging as well as the lyrics, though this blog is focused on the latter.)
It’s worth noting that the show went through many iterations throughout the decade. For the sake of coherence I’m separating this post into each variant.
Oh, and because this entails many different versions of the musical, and most of these lyrical changes can be seen and discussed in other posts of my blog, this post will be significantly less thorough than most of mine regarding my thoughts on the changes. With all that cleared up, let us begin!
Circa 1987-1988 variant
During “On Parole”, the official lyrics of the innkeepers have since 1987 been:
My rooms are full
And I’ve no supper to spare
I’d like to help a stranger
All we want is to be fair
The West End production maintained the original version instead:
My rooms are full
And I’ve no supper to spare
I’d like to help you really
All I want is to be fair
"At the End of the Day" reverses a line. Officially Valjean usually sings:
What is this fighting all about?
Will someone tear these two apart?
Instead, the West End show has him ask:
Will someone tear these two apart?
What is this fighting all about?
The 1987 libretto had these (solo) lyrics to “The Runaway Cart”:
Don’t go near him, Monsieur Mayor
The load is as heavy as hell
The old man is a goner for sure
It will kill you as well
The West End version used the original ensemble sequence instead:
(INDIVIDUAL)
Don’t go near him, Monsieur Mayor
There’s nothing at all you can do
(ENSEMBLE)
The old man is a goner for sure
Leave him alone
“Who Am I?” still used the original “This innocent who bears my face” instead of “who wears my face”. It also still featured Valjean’s “You know where to find me!” declaration officially written out of the libretto.
Prior to "Master of the House", a customer still declares "Hell, what a wine" instead of the revised "God, what a wine".
In the “Waltz of Treachery”, Thenardier still asks “Have we done for your child what is best?” instead of the official post-Broadway line which changes “your child” to “her child”. Additionally, Valjean still sings "a friendlier sky" instead of "some friendlier sky".
Then, at the end of the number, at least some performances use a slightly different line from the norm. Usually Little Cosette asks:
Will there be children
And castles to see?
However, this era of the West End production used a version later borrowed by the Official Symphonic Soundtrack as well as the 1992 UK tour:
Will there be castles
And children to see?
I can’t help but wonder what this edit was supposed to accomplish. Is it supposed to show that Cosette is optimistic and innocent enough to prioritize castles over making friends?
The opening of "Look Down" interestingly used a middle ground between Gavroche's original and rewritten lines. Originally he declares:
This is my school, my high society
From St. Denis to St Michel
We live on crumbs of humble piety
Tough on the teeth, but what the hell?
If you're poor, if you're free
Follow me, follow me!
Officially in the 1987 libretto, he instead proclaims:
This is my school, my high society
Here in the slums of St Michel
We live on crumbs of humble piety
Tough on the teeth, but what the hell?
Think you're poor? Think you're free?
Follow me, follow me!
However, the West End production at the time has him sing:
This is my school, my high society
Here in the slums of St Michel
We live on crumbs of humble piety
Tough on the teeth, but what the hell?
If you're poor, if you're free
Follow me, follow me!
The revised opener combined with the original closing part! A fascinating combination in my book.
As in the original version, the Beggar Woman cries "You give 'em all the pox" instead of just "Give 'em all the pox".
The 1987 libretto featured the following exchange as an ensemble piece:
When's it gonna end?
When're we gonna live?
Something's gotta happen now or
Something's gotta give
However, the West End production used the original solo lines:
When's it gonna end?
When're we gonna live?
Something's gotta happen, dearie
Something's gotta give
Fortunately, the generic students' lines have been replaced with Marius and Enjolras as usual. However, the beggars' lines in between their dialogue is in its original form. Instead of the revised lines:
(BEGGARS)
See our children fed
Help us in our shame
Something for a crust of bread in Holy Jesus' name
(SOLO BEGGAR)
In the Lord's holy name
(BEGGARS)
In His name, in His name, in His name
The original ones are used:
(BEGGARS)
Something for a meal
Something for a doss
Something in the name of Him who died upon the cross
On the cross, come across
On the cross, come across, come across
"The Robbery" has mostly been adapted into its revised Broadway form, with one small difference. Instead of the following revised part of Thenardier's dialogue:
Save a life, spare a sou
God rewards all the good that you do
He instead sings the following:
Save a life, spare a sou
God will see all the good that you do
This is presumably a relic of the number's pre-Broadway form, in which Thenardier's plea includes the line:
How d'you do? Spare a sou
God will see all the good that you do
I kind of like this unique variant actually. It strikes me as a little more authentic regarding what an actual religious person would say. My experience is that the omniscience of God seems to be a higher priority in most devout Christians' minds than the ways he will reward them. Of course, Thenardier is just putting on an act and he himself prioritizes nothing before reward, so perhaps the standard lines make more sense.
For some inexplicable reason, Javert's "Why on earth did he run?" later in "The Robbery" is instead sung as "Why the hell did he run?" This feels extremely out-of-character; Javert is usually not one to use Biblical terms casually.
"Stars" mostly takes on its usual post-Broadway form, with one difference. Instead of singing:
He knows his way in the dark
But mine is the way of the Lord
And those who follow the path of the righteous shall have their reward
He removes the final conjunction, making the lyric:
He knows his way in the dark
But mine is the way of the Lord
Those who follow the path of the righteous shall have their reward
Ironically, I find the original "but" a little awkward while thinking the "and" is better when present! Not a huge deal though.
Enjolras' name continues not to be stated during the instrumentals before "Red and Black".
During "Red and Black", Grantaire still sings "We talk of battles to be won" instead of the slightly revised "You talk of battles to be won".
"The Attack on Rue Plumet" uses the slightly different original "to watch a cat and his father" line instead of the official "to see a cat and his father".
Then, at the climax of the number, instead of the revised sequence of lines:
You wait my girl, you'll rue this night
I'll make you scream, you'll scream alright!
Leave her to me, don't wait around
Make for the sewers, go underground
The original sequence was used:
Make for the sewers, don't wait around
Leave her to me, go underground
You wait my girl, you'll rue this night
I'll make you scream, you'll scream alright!
During "One Day More", Javert sings the original "One day more to revolution" instead of "One more day to revolution" as is standard.
In the opener to Act Two, Grantaire sings the pre-Broadway "Some will bark, some will bite" from the pre-Broadway show instead of the revised "Dogs will bark, fleas will bite".
After "Little People", Grantaire similarly keeps his original "Better far to die a schoolboy than a p'liceman and a spy instead of the post-Broadway "What's the difference? Die a schoolboy, die a p'liceman, die a spy".
The Second Attack retains a lot of pre-Broadway lines. Instead of this post-Broadway opening:
(ENJOLRAS)
How do we stand? Feuilly make your report
(FEUILLY)
We've guns enough but ammunition short
(MARIUS)
I will go into the street
There are bodies all around
Ammunition to be had
Lots of bullets to be found
The original one is used:
(ENJOLRAS)
How do we stand? Feuilly make your report
(FEUILLY)
We've guns enough but bullets running short
(MARIUS)
Let me go into the street
There are bodies all around
Ammunition to be had
Lots of bullets to be found
Then, instead of this post-Broadway sequence:
(ENJOLRAS)
I can't let you go, it's too much of a chance
(MARIUS)
And the same is true for any man here
(VALJEAN)
Let me go, he's no more than a boy
I am old, I have nothing to fear
The pre-Broadway one is used:
(ENJOLRAS)
I can't let you go, it's too much of a chance
(MARIUS)
And the same can be said for any man here
(VALJEAN)
Let me go in his place, he's no more than a boy
I am old and alone and have nothing to fear
The remainder of the scene is performed in its usual post-Broadway form.
The "Final Battle" number uses the more hectic original pace as opposed to the less wordy post-Broadway lyrics. Instead of these current lyrics:
(ENJOLRAS)
Let us die facing our foes
Make them bleed while they can
(COMBEFERRE)
Make them pay through the nose
(COURFEYRAC)
Make them pay for every man
A slight variation on the original lyrics is used:
(ENJOLRAS)
Come on my friends, though we stand here alone
Let us go to our deaths with our face to the foes
(COMBEFERRE)
Let 'em pay for each death with a death of their own
(COURFEYRAC)
If they get me, by God, they will pay through the nose
Notice how the line now uses "the foes" instead of the original "our foes". Everything else is consistent with the original sequence, though.
"Dog Eats Dog" is mostly the same as its post-Broadway revision. However, Thenardier still sings "Here's a little toy" instead of the revised "Here's another toy".
Additionally, after the number Thenardier still doesn't shout Valjean's name.
From this point onwards, the musical takes its standard post-Broadway form.
Circa 1988-1989 variant
This version is almost identical to the last, with a couple exceptions. During "Who Am I?" Valjean now sings the official "wears my face" line as opposed to the original "bears my face" lyric.
The post-"Waltz of Treachery" scene is now performed in its standard "children and castles" format instead of the "castles and children" variant.
"Stars" now borrows a line from its Australian version. Instead of "And so it has been, and so it is written", Javert now sings "And so it must be, for so it is written". Interestingly, though, the rest of the number is the same as it was in the 1987-1988 version of the West End show.
In "One Day More", Javert finally sings the post-Broadway "One more day to revolution" instead of "One day more to revolution".
Thenardier now shouts Valjean's name following "Dog Eats Dog", as was already the case in other productions.
Circa 1989-1991 variant
This version of the show is mostly a mix of the 1987-1989 variants as well as the official post-Broadway libretto, with a few unique variations added in. The innkeeper scene retains its pre-Broadway form, and "At the End of the Day" retains its swapped-lines variants.
"The Runaway Cart" now uses its standard post-Broadway lyrics. However, the lines "The load is as heavy as hell" and "It will kill you as well" are performed as ensemble pieces instead of the scripted solo lines.
"Who Am I?" retains Valjean's "You know where to find me" line... usually. I also have one 1989 recording where Peter Karrie uses the Australian "You will find me at the hospital St. John" line... yet Karrie himself can also be heard stating the usual line in other performances. Very odd...
The "Hell, what a line" original lyric is still sing during the preamble to "Master of the House".
Thenardier still sings "your child" instead of "her child" during the "Waltz of Treachery".
Gavroche's opening to "Look Down", the Beggar Woman's "Give 'em all the pox", and the beggars' "See our children fed" lyrics have all finally been adapted into their official post-Broadway selves. However, the "When's it gonna end" sequence retains its pre-Broadway form.
"The Robbery" maintains the unique "God will see all the good that you do" variation. However, Javert's "Why the hell did he run?" has fortunately been reverted to "Why on earth did he run?"
"Stars" has now fully adapted into its Australian format. Instead of the original "Fallen from grace, fallen from grace" Javert now sings "Fallen from God, fallen from grace". The "but" has also been removed from "Mine is the way of the Lord".
"Red and Black" now uses the official "you talk of battles" line. However, Enjolras' name still isn't declared during its opening instrumentals.
"The Attack on Rue Plumet" retains all of its pre-Broadway variations.
In "One Day More", Javert now sings "I will join these little schoolboys" instead of "We'll be ready for these schoolboys".
The opening barricade scene in Act Two has now switched to the official post-Broadway "Dogs will bark, fleas will bite" lyrics.
Grantaire's post-"Little People" line now takes its post-Broadway "What's the difference?" format.
The "Second Attack", the "Final Battle", and "Dog Eats Dog" are all performed identically to the 1987-1989 West End versions.
Circa 1991-1992 variant
This is very close to the 1989-1991 version, with a few differences. The "Waltz of Treachery" finally has Thenardier say "her child" instead of "your child".
The "Final Battle" now uses the official post-Broadway lyrics.
"Dog Eats Dog" finally uses the official "Here's another toy" line instead of "Here's a little toy".
Moreover, the Epilogue now uses the Australian "I'll lead you to salvation" lines instead of the original (and still official at that point) "And lead me to salvation".
Circa 1992-1993 variant
This variant is similarly very close to the 1991-1992 one, with the following exceptions. "At the End of the Day" finally uses its official lyrics.
Valjean no longer declares "You know where to find me!" after "Who Am I?"
Then, "A Little Fall of Rain" takes a cue from the 1992 UK tour. It now opens with the same annoying interlude as opposed to the usual opening music.
Later, in another acknowledgement of the UK tour, after "Night of Anguish" instrumentals of "A Little Fall of Rain" as opposed to "Drink with Me" play.
Gavroche's death scene now uses the "ammunition short" and "I will go into the street" lines instead of the original ones. However, the rest of the number is still in its pre-Broadway state.
Circa 1993-1994 variant
This version borrows elements from the 1992 UK tour while still keeping a lot of features of previous West End versions.
The innkeeper scene still takes its pre-Broadway form.
"Fantine's Arrest" has put in Fantine's slightly awkward "I won't have you" line from the UK tour in place of her usual "No, not at all". Some performances also switch Bamatabois' original lyrics:
You've got some nerve, you little whore
You've got some gall!
It's the same with a tart as it is with a grocer
The customer sees what he gets in advance
It's not for the whore to say "yes sir" or "no sir"
It's not for the harlot to pick or to choose
Or to lead me a dance
Into his UK tour lines:
You've got some sauce, you ugly slut
You've got some gall!
What's become of the world when a whore from the gutter
Can suddenly get such ideas in her head?
Your job is to lie on your back for your betters
This hideous harlot believes she can choose
Who she takes to her bed
However, this didn't seem to be the standard at this point. Many performances still used the original lyrics.
"The Runaway Cart" has been entirely redone so that it takes its UK tour format. Instead of these original opening remarks:
Look at that
Look at that
It's Monsieur Fauchelevent
Don't approach
Don't go near
At the risk of your life
He is caught by the wheel
Oh the pitiful man
Stay away
Turn away
There is nothing to do
There is nothing to do
The UK tour ones are used:
Look at that
Stay away
You'll be crushed by the cart
Don't approach
Don't go near
It'll fall on you too
Oh my god, who is that?
It's Monsieur Fauchelevent
He is caught by the wheel
Oh the pitiful man
There is nothing to do
As in the past in the West End, the solo lines in the "Don't go near him..." sequence become ensemble ones.
Finally, Fauchelevent's original "You come from God, you are a saint" takes its UK tour "You saved my life, you come from God" form.
"Look Down" still uses the pre-Broadway "When's it gonna end..." sequence.
In "The Robbery", Thenardier also still claims "God will see..." instead of "God rewards...".
As with past variations in the West End, "Stars" takes its Australian/UK tour form.
Interestingly, despite all the UK tour adaptations which were being added to the West End show, the opening sting prior to "Red and Black" is not heard (despite the fact that during this era, it was being added to more or less every other replica production worldwide!)
Additionally, Enjolras' name still doesn't appear during the number's opening instrumentals.
However, Enjolras' line:
To rally the people
To call them to arms
To bring them in line
Is replaced with the UK tour version:
To rally the people
To fire their blood
And the bring them in line
Also, the rewritten lyrics to "Lamarque is Dead" do appear.
The pre-Broadway lyrics in "The Attack on Rue Plumet" are still present.
Javert continues to sing "I will join these little schoolboys" in "One Day More".
As was the case in the last edit, "A Little Fall of Rain" and "Night of Anguish" use the musical variants introduced in the UK tour.
Gavroche's death scene is finally in its official post-Broadway form 100% of the way through. After this point in the show, everything is identical to the 1991-1993 show.
Circa 1994-1995 variant
This is almost identical to the 1993-1994 version of the show. The one difference I'm aware of: Thenardier finally sings "God rewards..." instead of "God will see..." in "The Robbery".
Circa 1995-1996 variant
A few differences are present here relative to the 1994-1995 version. First off, "Lovely Ladies" takes a cue from the UK tour. Instead of this group scene:
(SAILORS - simultaneously with prostitutes' lines)
Lovely lady, fastest on the street
Wasn't there three minutes
She was back up on her feet
Lovely lady, what you waiting for
Doesn't take a lot of savvy just to be a whore
Come on lady, what's a lady for?
(PROSTITUTES - simultaneously with sailors' lines)
Lovely ladies, lovely little girls
Lovely ladies, lovely little ladies
Lovely girlies, lovely little girls
We are lovely, lovely girls
Lovely ladies, what's a lady for?
There's this exchange between a prostitute and a pimp:
(PROSTITUTE)
God I'm weary, sick enough to drop
Belly burns like fire
Will the bleeding ever stop?
(PIMP)
Cheer up dearie, show a happy face
Plenty more like you here
If you can't keep up the pace
(PROSTITUTE)
Only joking, dearie knows her place
Note that this is NOT identical to the UK tour version. The prostitute sings "will the bleeding ever stop" instead of "never stop", and the pimp refers to "you here" instead of "you, dear".
"Fantine's Arrest" now has solidified the UK tour lyrics as the default ones; the original lyrics seem to no longer be used in the UK.
In the "Waltz of Treachery", Thenardier no longer just sings "Let's not haggle for darling Cosette". No he refers to "darling Colette", with Mme. Thenardier quickly saying (not singing) her actual name and Thenardier singing it in response. I'm not the biggest fan of this joke myself. It makes Thenardier look like nothing more than a big idiot, when I think there should be a degree of cunning to his character.
The student finally shouts Enjolras' name during the opening instrumentals to "Red and Black" now.
Fortunately, the little opening overture before “A Little Fall of Rain” has once again been removed. Everything else is the same as the last version (and yes, that includes the original pre-Broadway lines that haven't yet been converted to their rewritten forms!)
Circa 1997 variant
This version is almost identical to the last one. However, Javert is back to singing "We'll be ready for these schoolboys" instead of "I will join these little schoolboys" in "One Day More".
An interesting change also occurs during the "Final Battle". Though the lines are the same, Enjolras now sings the final word, "free", instead of shouting it.
And that just about sums this part up! If I missed anything feel free to let me know, as my goal is to create a changelog as thorough and complete as possible. I plan on making more parts in the near future covering all the changes that have been made in the show up until this day (discounting concerts). Any feedback and constructive criticism is very much appreciated.
As a side note, both for this project and my own enjoyment, I want as complete a collection of Les Miserables audios as possible. I already have most of what’s commonly circulated, but if you have any audios or videos you know are rare, I’d love it if you DMed me!
Until the turntable puts me at the forefront again, good-bye…
Hello, everyone! This is the latest edition in my attempt to chronicle all of the musical and lyrical changes which the show Les Miserables has undergone over the years. Much like the last part, this one focuses on changes made not to the official libretto, but to one particular production: namely, the 1992-1994 UK tour. However, in contrast to the last part, the vast majority of these changes at least made it elsewhere at some point. This will be a bit longer than Part 4, but still shorter than any of the first three parts. With all that cleared up, let us begin!
Like the West End production before it (more on that later), the UK tour swapped these lines from "At the End of the Day":
What is this fighting all about?
Will someone tear these two apart?
He thus instead sings:
Will someone tear these two apart?
What is this fighting all about?
The first noticeable difference original to this production occurs during "Lovely Ladies". Originally after Fantine's "Ten francs will save my poor Cosette", there was a rather complex section in which the sailors and prostitutes sung different lines simultaneously. It went as follows:
(SAILORS - simultaneously with prostitutes' lines)
Lovely lady, fastest on the street
Wasn't there three minutes
She was back up on her feet
Lovely lady, what you waiting for
Doesn't take a lot of savvy just to be a whore
Come on lady, what's a lady for?
(PROSTITUTES - simultaneously with sailors' lines)
Lovely ladies, lovely little girls
Lovely ladies, lovely little ladies
Lovely girlies, lovely little girls
We are lovely, lovely girls
Lovely ladies, what's a lady for?
The UK tour totally reimagines this scene as an exchange between a prostitute and a pimp:
(PROSTITUTE)
God I'm weary, sick enough to drop
Belly burns like fire
Will the bleeding never stop?
(PIMP)
Cheer up dearie, show a happy face
Plenty more like you, dear
If you can't keep up the pace
(PROSTITUTE)
Only joking, dearie knows her place
This is quite a massive departure from the original! I imagine it would be quite a bit easier to get right given that it involves only two actors, neither of whose dialog overlaps the other (in contrast to the original scene with an entire ensemble of actors with distinct but simultaneous lyrics and tunes). It's hard for me to decide what I prefer. Thematically, the revised version is better, given that it makes the negative and exploitative aspects of prostitution quite a bit clearer than the original. However, lyrically I prefer the original somewhat simply for the sake of consistency. The sick prostitute scene, as it's sometimes been called, is the only point in the entire song where that chorus is used without some variation of the words "lovely ladies". Feels a little out-of-place to me.
"Fantine's Arrest" also gets different lyrics - for a time, at least. I have two different audios from the UK tour, from April and December 1992 respectively. The December audio reverts to the original lyrics for Bamatabois (though not for Fantine). I wonder whether or not someone just forgot to tell the replacement Bamatabois about the lyrical edit, or if it was a conscious choice to revert the scene? I also wonder if the year-plus of the tour after that performance kept the original lyrics or put the new ones in again. Regardless, this is how the exchange between Fantine and Bamatabois originally went:
(BAMATABOIS)
Is this a trick? I won't pay more
(FANTINE)
No, not at all
(BAMATABOIS)
You've got some nerve, you little whore
You've got some gall!
It's the same with a tart as it is with a grocer
The customer sees what he gets in advance
It's not for the whore to say "yes sir" or "no sir"
It's not for the harlot to pick or to choose
Or to lead me a dance
The UK tour initially revised the sequence into the following:
(BAMATABOIS)
Is this a trick? I won't pay more
(FANTINE)
I won't have you
(BAMATABOIS)
You've got some sauce, you ugly slut
You've got some gall!
What's become of the world when a whore from the gutter
Can suddenly get such ideas in her head?
Your job is to lie on your back for your betters
This hideous harlot believes she can choose
Who she takes to her bed
I guess the revised lyrics feel a bit more threatening, as well as a little less contrived. (Who the hell has ever actually used the phrase "lead me a dance"?) Still, I prefer the original ones because the rhyme scheme feels a lot more natural.
More changes occur during "The Runaway Cart". The original (rather clunky) conversation among the townspeople was as follows (with each line separate due to being said by a different person than the previous one):
Look at that
Look at that
It's Monsieur Fauchelevent
Don't approach
Don't go near
At the risk of your life
He is caught by the wheel
Oh the pitiful man
Stay away
Turn away
There is nothing to do
There is nothing to do
The UK tour rewrites most of the scene into the following:
Look at that
Stay away
You'll be crushed by the cart
Don't approach
Don't go near
It'll fall on you too
Oh my god, who is that?
It's Monsieur Fauchelevent
He is caught by the wheel
Oh the pitiful man
There is nothing to do
A far more natural progression in my humble opinion, and less repetitive as well.
The later scene involving the townspeople doesn't actually include any lyrical changes. However, like the West End production before it (more on that later), it does take lines that were previously in the singular into ensemble lines. The sequence was generally being performed as follows:
(MALE TOWNSPERSON)
Don't go near him, Monsieur Mayor
The load is as heavy as hell
(FEMALE TOWNSPERSON)
The old man is a goner for sure
(MALE TOWNSPERSON)
It will kill you as well
The UK tour instead staged it as follows:
(MALE TOWNSPERSON)
Don't go near him, Monsieur Mayor
(ENSEMBLE)
The load is as heavy as hell
(FEMALE TOWNSPERSON)
The old man is a goner for sure
(ENSEMBLE)
It will kill you as well
This ensemble business, which was already being used in the West End at the time, is an interesting callback, perhaps, to the pre-Broadway libretto in which much of the segment was sung by the ensemble. Personally I consider this edit an improvement. It feels far more frantic when the entire crowd is involved in the scene.
Once Valjean actually saves Fauchelevent, his lines are originally as follows:
Monsieur Le Maire, I have no words
You come from God, you are a saint
The UK tour changes them into the following:
Monsieur Le Maire, I have no words
You saved my life, you come from God
I guess the rewrite makes the reason for Fauchelevent's gratitude clearer, though it was already perfectly clear to begin with. The edit certainly doesn't hurt anything though.
The preamble to "Master of the House" retains the original "Hell, what a wine" instead of the post-Broadway "God, what a wine" edit.
Similarly, the "Waltz of Treachery" number has Thenardier ask the original "Have we done for your child what is best?" instead of the post-Broadway "her child".
A slight variation can be heard after the “Waltz of Treachery”. Usually Little Cosette asks:
Will there be children
And castles to see?
However, in the UK tour she instead asks:
Will there be castles
And children to see?
This variation also occurs in some early post-Broadway West End performances, and in the Complete Symphonic Soundtrack. I’d be interested to know whether or not that soundtrack may have inspired the choice during the UK a tour.
Interestingly, “Look Down” reverts an exchange back from the 1987 libretto into the original pre-Broadway version. Perhaps drawing from the West End show which was still using the original variant of this particular moment, the sequence officially sung by the ensemble as follows as follows:
When’s it gonna end
When’re we gonna live
Something’s gotta happen now or
Something’s gotta give
Because, as it was originally written, sung by one person at a time:
When’s it gonna end
When’re we gonna live
Something’s gotta happen, dearie
Something’s gotta give
My thoughts on the two variants can be seen in Part 3 of this blog.
Like the Australian tour, the UK tour has Thenardier say "God rewards all the things that you do" during "The Robbery" instead of "the good that you do".
Also, for some reason Thenardier refers to "the brand across his chest" instead of "upon his chest" later in the number.
The UK tour borrows the revised lyrics to “Stars” from the Australian tour and the West End production. Instead of the original lyrics:
A fugitive running
Fallen from grace, fallen from grace
It used these ones:
A fugitive running
Fallen from God, fallen from grace
Instead of these lines:
He knows his way in the dark
But mine is the way of the Lord
And those who follow the path of the righteous shall have their reward
It uses the shortened variants:
He knows his way in the dark
Mine is the way of the Lord
Those who follow the path of the righteous shall have their reward
Finally, instead of these lines:
And so it has been
And so it is written
It used these ones:
And so it must be
And so it has written
You can read my thoughts on all those differences in Part 4 of this blog.
The next noticeable difference occurs at the beginning of “Red and Black”. Previously the song opened with the beginning chords. However, the UK tour added a short musical sting before these chords. If I’m not mistaken, this musical addition was placed in to account for a change in staging. Originally the number began with the barricade set sliding off-stage, revealing the ABC cafe set behind it. However, around the time of this tour the blocking was adjusted. Now, the turntable instead revolved at the beginning of this number, revealing the ABC cafe set on the other end of the turntable and allowing the barricade set to double as the walls of the cafe. I believe the opening sting was added to allow time for this slightly more elaborate staging.
Additionally, as was the case in the West End at the time, no one shouts Enjolras' name during the instrumentals to "Red and Black".
In “Red and Black”, Enjolras usually sings:
We need a sign
To rally the people, to call them to arms
To bring them in line
However, the UK tour replaces it with the following lines:
We need a sign
To rally the people, to fire their blood
And to bring them in line
I guess “fire their blood” has a certain idealistic flair that fits Enjolras’ character, but I still definitely prefer the usual lyric. It conveys the message a lot more directly.
After the number, this is Enjolras’ original remark regarding General Lamarque’s passing:
On his funeral day they will honor his name
It’s a rallying cry that will reach every ear
In the death of Lamarque we will kindle the flame
They will see that the day of salvation is near
The time is here…
The UK tour rewrites those lines into the following:
On his funeral day they will honor his name
With the light of rebellion ablaze in their eyes
From their candles of grief we will kindle our flame
On the tomb of Lamarque shall our barricades rise
The time is here…
Though there’s a bit less rhyming in the revision, it strikes me as somewhat nicer and less clunky-sounding. The sentences’ subjects no longer feel all over the place, and the phrasing is far more poetic.
As with “Look Down”, some lyrics to “The Attack on Rue Plumet” are reverted to their original form (which was also still used in the West End at the time). Thenardier’s official lyrics following Eponine’s scream were as follows:
You wait my girl, you’ll rue this night
I’ll make you scream, you’ll scream alright!
Leave her to me, don’t wait around
Make for the sewers, go underground
The UK tour brought them back to this form:
Make for the sewers, don’t wait around
Leave her to me, go underground
You wait my girl, you’ll rue this night
I’ll make you scream, you’ll scream alright!
You can read my thoughts on these variants in Part 3 of this blog.
As with the Australian tour, Philip Quast changes “we’ll be ready for these schoolboys” into “I will join these little schoolboys” in “One Day More”. Unlike the Australian tour, the UK tour would maintain this variant even after Philip left. You can read my thoughts on this variant in Part 4 of this blog.
That’s it for the first act! The first noticeable difference occurs right before “A Little Fall of Rain”. Instead of opening with the beginning music, the UK tour added a short musical interlude beforehand. In my opinion, this music sounds terrible and feels extremely out-of-place. I wonder whether or not there was some change in staging to account for these extra notes.
After Enjolras' "Night of Anguish", the instrumental music is edited. Originally the number was followed by the same tune which would later be heard in "Drink with Me". However, the UK tour replaced it with a reprise of the tune of "A Little Fall of Rain". This is one of my least favorite edits for the tour. The original music felt highly emotional, and, since it predicted a later number, it implies the sense that, despite Eponine's death, there is more to come and the revolution is far from over. I'd argue that simply reprising a song that just happened suggests a degree of closure that is not appropriate for its context.
Everything is as usual right up until the epilogue. As with the Australian tour, the UK tour uses the “I’ll lead you to salvation” line instead of “And lead me to salvation” for Fantine and Eponine. You can read my thoughts on that change in Part 4 of this blog.
That’s it for this part! If I missed anything feel free to let me know, as my goal is to create a changelog as thorough and complete as possible. I plan on making more parts in the near future covering all the changes that have been made in the show up until this day (discounting concerts). Any feedback and constructive criticism is very much appreciated.
As a side note, both for this project and my own enjoyment, I want as complete a collection of Les Miserables audios as possible. I already have most of what’s commonly circulated, but if you have any audios or videos you know are rare, I’d love it if you DMed me!
Until the turntable puts me at the forefront again, good-bye…
The Les Miserables Changelog Part 4: 1987 Australian Tour
Hello, everyone! This is the latest edition in my attempt to chronicle all of the musical and lyrical changes which the show Les Miserables has undergone over the years. Unlike previous parts, this one is not focused on any official libretto changes affecting all productions of the musical. Rather, it looks at a set of changes applied specifically to the 1987-1991 Australian tour. While the tour mostly followed the normal 1987 libretto discussed in the last part of this blog, it did add a few unique touches that are worth discussing here. Many would never make it outside of this particular production; however, a few would in fact be used in later productions of the musical too. Without further ado, let's get started!
The first change I am aware of is in the prologue. Usually the Bishop tells Valjean, "Now God's blessings be with you". In the Australian tour, he instead states "May God's blessings be with you". Not a big edit, but an edit nonetheless.
The next change comes at the beginning of "Lovely Ladies". While originally a sailor sings that "seven days at sea will make you hungry for a poke", the Australian tour switches this to "seven weeks at sea". I suppose this would be a more realistic timeframe for a sailor at the time to be away, and it also makes him come across as slightly less desperate. Having said that, the original sense of desperation fits the mood of the number perfectly.
The very next scene, "Fantine's Arrest", also has a very slight change. While usually Valjean requests "A moment of your time, Javert, I do believe this woman's tale", the word order is swapped so that he instead asks "Javert, a moment of your time, I do believe this woman's tale" in the Australian tour. Not a huge change, nor do I quite know what it was supposed to accomplish, but interesting nonetheless.
In "Who Am I?" Valjean usually asks regarding his workers, "How will they live if I am not free?" The Australian tour changes this slightly to "How will they fare if I am not free?" This slightly changes the mood from a life-or-death situation to a more subtle question of looking out for others' well-being, though it's not a huge difference.
Then, after "Who Am I?" a bit of spoken dialog is added for this tour. Perhaps in acknowledgement of the "You know where to find me!" used in the West End at the time, Valjean shouts "You will find me at the hospital St. John!" after his high note. Similar in spirit to the mostly-scrapped original declaration, though now he doesn't actually trust Javert to figure out his location (which makes more sense to me than the original).
The preamble to "Master of the House" mixes up the genders regarding the bar crowd's lines. First off is the opener, which usually goes as follows:
(FEMALE PATRON)
C'mon you old pest
(MALE PATRON)
Fetch a bottle of your best
(MALE PATRON)
What's the nectar of the day?
In the Australian tour, this is how it goes:
(MALE PATRON)
C'mon you old pest
(MALE PATRON)
Fetch a bottle of your best
(FEMALE PATRON)
What's the nectar of the day?
Usually this was how a later part went:
(MALE PATRON)
One more for the road
One more slug of gin
(FEMALE PATRON)
Just one more
Or my old man is gonna do me in
The Australian tour swapped the sexes of some of those lines, leading to a slightly different final lyric:
(MALE PATRON)
Landlord over here
Where's the bloody man
One more for the road
(FEMALE PATRON)
One more slug of gin
(MALE PATRON)
Just one more
Or her old man is gonna do her in
The ending to the "Waltz of Treachery" has an interesting lyrical edit. Usually Valjean proclaims the following:
Yes, Cosette
Yes it's true
There's a castle just waiting for you
However, the Australian tour gave him this line instead:
Yes, Cosette
Yes it's true
A world of surprises is waiting for you
This gives a much more general promise to Cosette, and is a less direct response to her "Will there be children and castles to see?" question. I'm not sure which I prefer to be honest.
A very small change occurs during "Look Down"; namely, a line originally sung by the ensemble is now sung by just one person. Originally this is how the sequence goes:
(BEGGARS)
See our children fed
Help us in our shame
Something for a crust of bread in Holy Jesus' name
(SOLO BEGGAR)
In the Lord's holy name
(BEGGARS)
In His name, in His name, in His name
However, for the Australian tour, "Something for a crust of bread in Holy Jesus' name" is sung by one single beggar woman (who is distinct from the beggar woman who sings "In the Lord's holy name"). This change would be adapted into the official libretto much later to account for a staging change in which the beggar singing the line walks by Marius and Enjolras to ask them specifically for some extra cash (as opposed to asking for help more rhetorically, as was originally the implication). I'm curious as to whether or not the Australian tour used a similar staging difference earlier on, or if there was some other reason to make the line an individual one.
A few changes are made to "The Robbery". First off, Thenardier tells Valjean "God rewards all the things that you do" as opposed to the normal line, "God rewards all the good that you do". I slightly prefer the original, though it's not a huge difference.
Finally, Eponine's "It's the p'lice, disappear, run for it, it's Javert!" is bizarrely changed to the rather repetitive "It's the p'lice, disappear, it's the p'lice, it's Javert!" I have no clue what this was supposed to accomplish, because it makes the line far messier than it was before. Perhaps this was the intention, in order to highlight Eponine's unrefined self? Though that doesn't seem particularly relevant to the scene... who knows.
Some significant changes occur during "Stars". Not long after the song's start, Javert's declaration is changed from its original:
A fugitive running
Fallen from grace, fallen from grace
Into the less repetitive:
A fugitive running
Fallen from God, fallen from grace
Personally, I have a soft spot for the original repetition, but i do understand why some would prefer the Lord's name being used instead of the vaguer concept of grace.
Soon afterwards, a few conjunctions are removed. Originally Javert declares:
He knows his way in the dark
But mine is the way of the Lord
And those who follow the path of the righteous will have their reward
However, the Australian production (and the London production not long afterwards) simplified the sequence to:
He knows his way in the dark
Mine is the way of the Lord
Those who follow the path of the righteous will have their reward
I suppose the conjunction-free variant is likely to be easier to sing, since the lyrics are a little less rushed. This variant also separates the lines so that they come across as separate sentences, instead of one long run-on one. However, it does slightly bug me that the later line "And each in its season returns..." maintains its conjunction while the opening verse does not. That strikes me as somewhat inconsistent.
By far my favorite change to "Stars" happens towards the end. Originally, Javert sings:
And so it has been
And so it is written
On the doorway to paradise...
However, the Australian production changes the first line in the sequence:
And so it must be
For so it is written
On the doorway to paradise...
The revised line is much more dramatic and forceful, and makes Javert's final promise all the more powerful. It also sounds less passive, which seems more appropriate for Javert's character.
Philip Quast, who originated the role of Javert in Australia and later returned in 1991, changed the line "We'll be ready for these schoolboys" into "I will join these little schoolboys" during "One Day More". This line arguably makes his intentions a bit clearer, though it carries less threatening implications than the original lyric. Interestingly, however, Quast's replacements in the tour revert to the original line.
A very slight change occurs in "Drink with Me". Instead of Grantaire's "Can it be your death means nothing at all?" he asks "Could it be your death means nothing at all?"
Something weird happens during "Dog Eats Dog". For whatever reason, instead of the usual musical interlude that plays as Valjean carries Marius through the sewers, a similar but slightly different (and in my opinion inferior) variant plays instead. It sounds quite messy in my opinion. I wonder whether or not there was some difference in staging to inspire this different version of the music, or if someone inexplicably just thought it sounded better?
Similarly, the usual music that plays as the Thenardiers awkwardly feign sophistication during the wedding scene is given another in my opinion less polished edit. Nothing much to say here that I haven't said in the context of the last change.
One of the more impactful changes in the long run comes in the epilogue. Originally Fantine and Eponine sung the following line together:
Take my hand
And lead me to salvation
However, the Australian tour gave them the following line instead:
Take my hand
I'll lead you to salvation
This makes a lot more sense, since they have been dead for years and only now is Valjean joining them. Some have argued that because Valjean has become the epitome of good, an almost Christ-like figure, it ends up that he continues to save people even after they have passed away, hence the original lyric. I personally don't buy this at all. I think Fantine and Eponine were clearly good people doing the best they could, and if they still need an outside influence to be considered worthy of salvation that speaks quite poorly of whatever God may exist! The revised line is far better in my opinion, and fortunately it would become the standard worldwide in a few years.
And that just about sums this part up! (Man, it feels good to make such a short, easy post after the hours that went into the last one!) If I missed anything feel free to let me know, as my goal is to create a changelog as thorough and complete as possible. I plan on making more parts in the near future covering all the changes that have been made in the show up until this day (discounting concerts). Any feedback and constructive criticism is very much appreciated.
As a side note, both for this project and my own enjoyment, I want as complete a collection of Les Miserables audios as possible. I already have most of what’s commonly circulated, but if you have any audios or videos you know are rare, I’d love it if you DMed me!
Until the turntable puts me at the forefront again, good-bye…
I made a few mistakes and omissions initially which I've since edited. If you really want a complete and accurate story of that chapter in Les Mis' existence, give it another look. My apologies!
The Les Miserables Changelog Part 3: 1987 Broadway Production
Hello, everyone! This is the latest edition in my attempt to chronicle all of the musical and lyrical changes which the show Les Miserables has undergone over the years. This time, we're going through all the changes between the musical as it existed on the West End around 1985-1986 and the revised libretto for the 1987 Broadway production.
In some ways, this is a much easier changelog to compile than the last two simply because it is much easier to find audio evidence of the show from this era than from its pre-1987 self. We have a full soundboard of the original Broadway cast as well as a very good quality bootleg of the very first Broadway preview, as well as several audios from the next few years which use exactly the same script. We also have an officially released Symphonic Soundtrack which almost (but not quite) follows this version of the libretto exactly. So no more relying on unclear bootlegs and speculation to figure out what was changed when!
Having said that, the changes in this production were MASSIVE. It's almost certainly the most extensive edit the show's libretto has received to this day. As such, this will be a very long edition of this blog. So make sure you have a bit of time on your hands before reading it! With all that cleared up, let's begin.
The first change literally can be heard as soon as the musical begins. The pre-Broadway show opens up with the same recurring motif also heard, for instance, at the openings of "At the End of the Day" and "One Day More". This music then transitioned to the instrumentals to the opening "Work Song". The post-Broadway libretto cuts right to the chase, with the opening instrumentals to the "Work Song" starting right up without any preamble.
One interesting little non-scripted change occurs later in the "Work Song", but only in American productions. For whatever reason, every American Javert from the original Broadway cast until the first Broadway revival sang "And I am Javert" instead of "And I'm Javert", for reasons that honestly baffle me. Again, the libretto retained the original contraption as far as I'm aware, and the West End production as well as later UK and Australian tours still used it as well.
The next change happens while Valjean is on parole. After Valjean pleads against the farmer underpaying him, this was the farmer's original response:
Do you believe
A yellow ticket of leave
Allows a criminal like you to earn full screw?
Since Broadway, his response is instead as follows:
You broke the law
It's there for people to see
Why should you get the same as honest men like me?
I much prefer this revised version. Though the information is essentially the same, it feels more dramatic, as well as feeling less awkward now that it is in the form of separate sentences as opposed to a single sentence spoken in three lines with pauses in between. Moreover, the phrase "honest men like me" as used here provides interesting foreshadowing for its more well-known usage in "Master of the House". One could spend quite some time analysing the implications of this recurring description, but this blog is long enough as it is so now isn't the time!
In the same number, originally the innkeeper's wife had the following remark:
My rooms are full
And I've no supper to spare
I'd like to help you really, all I want is to be fair
Since Broadway, her line has been slightly modified:
My rooms are full
And I've no supper to spare
I'd like to help a stranger, all we want is to be fair
I suppose "I'd like to help a stranger" sounds less slang-y than "help you really". Presumably this is why it was changed. I find the change of subject from singular to plural far more interesting. My hypothesis is that the writers wanted to make it clear than this is a communal grudge, not a personal one. Everyone around sees it as perfectly fair to deny shelter to a former convict, not just this one individual. I definitely prefer the revised line, but evidently the producers of the West End production didn't; that production held on to the original lyrics for more than a decade after they were originally revised! More on that in a later edition of this blog...
A more minor change can be heard during "At the End of the Day". Originally, Valjean asks the factor workers "What is this shouting all about?" The Broadway script changes this to "What is this fighting all about?" Much less trivial implications now. I'm curious as to whether or not a staging change may have accompanied this. Usually the two workers get into quite a bit of physical scuffle by this point, far beyond the realm of shouting. Did the original pre-Broadway production use more subdued choreography?
"The Runaway Cart" has some noticeable differences. After Valjean asks the townspeople for help, the original response was sung by the entire ensemble, and went as follows:
(SOLO)
Don't go near him, Monsieur Mayor
There's nothing at all you can do
(ENSEMBLE)
The old man is a goner for sure
Leave him alone
The Broadway libretto revised this into a sequence sung by one individual at a time with the following lyrics:
Don't go near him, Monsieur Mayor
The load is as heavy as hell
The old man is a goner for sure
It will kill you as well
A female ensemble member sung "The old man is a goner for sure" while a male member sung the rest. I sort of like it better as an ensemble piece (something that would be largely brought back in later years, as I'll soon discuss) although I think it's cool that it rhymes now. Having said that, I'm fairly confident that no one in the real world has ever actually used the phrase "Heavy as hell"!
An official change in the libretto occurred in "Who Am I?" but listeners to the original Broadway cast would not have heard it. While the pre-Broadway show had Valjean refer to "This innocent who bears my face", the revised libretto instead refers to "This innocent who wears my face". Perhaps a means of avoiding repetition, given that the word "bear" is used again later in the number? Regardless, Colm Wilkinson didn't actually bother to adapt to this change! He still sings "This innocent who bears my face" in the Broadway production (as well as the tenth anniversary concert; not until his 1998 stint in Toronto did he ever start singing the revised lyrics). Since every future Valjean (except Ivan Rutherford for some reason) sings "wears", I still see it as appropriate to mention here.
At the end of the song, Valjean's "You know where to find me!", used on and off in the Barbican previews before becoming a settled part of the production by the final pre-Broadway libretto, is once again removed for the Broadway show. However, the West End production would keep it for a few years - more on that later...
Just listening to the original Broadway cast, one might think Javert's "Dare you talk to me of crime?" becomes "Dare you speak to me of crime?" However, this seems to be a Terrence Mann-exclusive change. Every Javert after him reverts to the original lyrics (as did Terrence himself when he returned to the musical fifteen years later). I'm still making note of the change here for the sake of clarification.
An instrumental change occurs between "Castle on a Cloud" and "Master of the House". Mme. Thenardier's "You heard me ask for something and I never ask twice" was original followed by three bars of notes, then by six more bars of notes that are identical to each other. After the Broadway production, however, those six bars of notes grow increasingly more dramatic as they go on.
A very slight change happens during the preamble to "Master of the House". Originally one of the guests proclaims "Hell, what a wine" while the revised libretto instead has him claim "God, what a wine". Definitely more natural in my opinion, though not a huge difference by any means.
A few subtle differences exist in the "Waltz of Treachery" number. First off, Thenardier originally asks "Have we done for your child what is best?" The Broadway libretto changes "your child" to "her child". I personally like the original lyric better, as it goes back to the idea established earlier that Valjean is metaphorically bargaining through the spirit of Fantine. It's definitely not a difference that makes or breaks the number, though.
Towards the end of the song comes another change that cannot actually be heard by listening to the original Broadway cast. In the pre-Broadway show, Valjean used the line "Let us seek out a friendlier sky", while the revised libretto has him say "Let us seek out some friendlier sky". However, Colm Wilkinson once again doesn't bother to adapt to the change, and unlike the "Who Am I?" change he wouldn't learn it over time either. He continues to sing "a friendlier sky" throughout his on-and-off performances as Valjean, right up to and including his 2002 run in Shanghai!
After the bulk of the number comes a more significant change. Prior to the Broadway production, as was discussed in the last entry, the "Waltz of Treachery" was followed by about forty-five seconds of vamping and then this exchange in the tune of "Castle on a Cloud":
(LITTLE COSETTE)
We're going home right now, monsieur
What is your name
(VALJEAN)
Now my dear
I've names enough, I've got names to spare
But where I go, you always will be there
Nor will you be afraid again
There is a sun that's shining yet
(LITTLE COSETTE)
I'm going to call you my Papa
(VALJEAN)
I'm going to call you my Cosette
The Broadway libretto replaced it with just under twenty seconds of vamping, followed by a sequence in the tune of the "Waltz of Treachery":
(VALJEAN)
Come Cosette
Come my dear
From now on I will always be here
Where I go
You will be
(LITTLE COSETTE)
Will there be children
And castles to see?
(VALJEAN)
Yes, Cosette
Yes it's true
There's a castle just waiting for you
This is followed by another fifteen or so seconds of vamping, and then the humming duet between Cosette and Valjean carries on as before.
Arguably the biggest change in the entire edited libretto happens now. Whereas the number was originally directly followed by "Stars", things have been moved around so that it instead transitions directly into "Look Down". "Look Down" itself receives a lot of adjustments. First off, the number began in the pre-Broadway musical with a bar of music that was then repeated. The Broadway version only plays the bar of music once, and the sung part happens immediately afterwards.
Gavroche's verse receives some lyrical updates. Originally it used the following lines:
This is my school, my high society
From St. Denis to St Michel
We live on crumbs of humble piety
Tough on the teeth, but what the hell?
If you're poor, if you're free
Follow me, follow me!
The Broadway production rewrote that sequence a little:
This is my school, my high society
Here in the slums of St Michel
We live on crumbs of humble piety
Tough on the teeth, but what the hell?
Think you're poor? Think you're free?
Follow me, follow me!
Better lines in my humble opinion; "slums" conveys the poverty of Gavroche's community much more effectively than the original line, and phrasing the "poor" and "free" lines as questions is more dramatic than their original statement form.
The old beggar woman's original "You give 'em all the pox" becomes the less grammatically accurate "Give 'em all the pox" for Broadway, though I have no idea if the original "You" was part of the libretto or simply an improvisation. Since seemingly all actresses used that line for the first few years of the West End production, it strikes me as warranting a mention.
Right after this comes another change. In the pre-Broadway show, the argument between the beggar woman and the prostitute was followed by an exchange by a few individual beggars. All of the following lines were said by one person at a time, the first three being said by female beggars and the last one by a male beggar:
When's it gonna end?
When're we gonna live?
Something's gotta happen, dearie
Something's gotta give
The Broadway libretto changes this to an ensemble piece performed by all the beggars simultaneously:
When's it gonna end?
When're we gonna live?
Something's gotta happen now or
Something's gotta give
I really like the switch to a group effort, as it really emphasizes that the beggars are a community sharing the burden of poverty. It really feels like an epidemic to an extent that it doesn't when it's just a small conversation. Evidently the producers of the West End show didn't agree with me though, as they held onto the original sequence for more than a decade after the official change, and by that point it had already been largely reverted worldwide! More on that in a later blog...
Originally, the exposition about General Lamarque was given by a few random students (supposedly not specified in the libretto, but in practice portrayed as Combeferre and Feuilly). Some ensemble dialogue between beggars was put in between. Feuilly sings over the end of the ensemble's lines - but many have speculated that this was not intended by the writers, as the background music sounds super out of sync with his singing! Here's how the scene went:
(COMBEFERRE)
As for the leaders of the land
As for the swells who run this show
Only one man and that's Lamarque
Speaks for the people here below
(BEGGARS)
Something for a meal
Something for a doss
Something in the name of Him who died upon the cross
On the cross, come across
On the cross, come across, come across
(FEUILLY)
Lamarque is ill and fading fast
Won't last the week out, so they say
With all the anger in the land
How long before the judgement day?
Before we cut the fat ones down to size?
Before the barricades arise?
Fortunately, the writers of the Broadway libretto had the sense to change the purveyors of the message into people actually relevant to the show's plot, namely Marius and Enjolras. Moreover, the beggars' dialog was rewritten into a sequence that feels far less clunky to me. The background music was fixed to account for the solo singing (now done by Marius) overlapping the beggars' lines, so it is now perfectly in sync. Here's the edited exchange:
(ENJOLRAS)
Where are the leaders of the land?
Where are the swells who run this show?
(MARIUS)
Only one man and that's Lamarque
Speaks for the people here below
(BEGGARS)
See our children fed
Help us in our shame
Something for a crust of bread in Holy Jesus' name
(SOLO BEGGAR)
In the Lord's holy name
(BEGGARS)
In His name, in His name, in His name
(MARIUS)
Lamarque is ill and fading fast
Won't last the week out, so they say
(ENJOLRAS)
With all the anger in the land
How long before the judgement day?
Before we cut the fat ones down to size?
Before the barricades arise?
Much better in my opinion! It should be noted that David Bryant instead sings "these people here below", but as far as I can tell every future Marius (or later Enjolras - more on that later) sings "the people, which is the actually phrasing in the libretto.
One final change in Look Down: Gavroche now says that all of Thenardier's family is "on the make", as opposed to the original "on the take". A rather pointless change in my book, though it certainly doesn't hurt anything.
"The Robbery" is another heavily edited number. Thenardier's line after acknowledging Brujon, Babet, and Claquesous was originally as follows:
You Montparnasse, watch for the p'lice
With Eponine, take care
You've got all the hash, I've got all the cash
The Broadway show rewrote those lines into their still-current form:
You Montparnasse, watch for the law
With Eponine, take care
You turn on the tears, no mistakes my dears!
This changed lyric more naturally transitions the scene into the gang's actual plan, though the original is an interesting continuation of Gavroche's recollection of Thenardier once running a hash house.
Mme. Thenardier's response is also altered from the original lyrics:
Here come a student from our street
One of 'Ponine's peculiar gents
Our Eponine would kiss his feet
She never showed a bit of sense
Into the current ones:
These bloody students on our street
Here they come slumming once again
Our Eponine would kiss their feet
She never showed a scrap of brain
It's interesting how the edit shifts the focus from Marius in particular to the students in general. It seems that Mme. Thenardier is less aware of the specifics of her daughter's personal life now, something that makes sense for her character.
After Mme. Thenardier's "You'll be in the clear", there was originally just eighteen seconds of a musical motif (the same one which opens "At the End of the Day" and "One Day More") followed by Thenardier's speech. Since Broadway, it's instead been followed by a few more lines of dialogue:
(MARIUS)
Who is that man
(EPONINE)
Leave me alone!
(MARIUS)
Why is here?
Hey Eponine!
Only now does the musical motif play. But instead of staying silent upon seeing Cosette, Marius now sings "I didn't see you there, forgive me..." Interestingly, in this video of a 1987 performance of the original West End production, Marius just stops without bumping into Cosette as he usually does. This makes me wonder whether or not the bumping was added into the Broadway version, and the lyric was added to accomodate for the blocking change. Of course, this is all speculation; I have no way to know for sure.
Thenardier's con job is also quite a bit different post-Broadway. Originally it used the following lyrics:
How you do? Spare a sou
God will see all the good that you do
Look monsieur, lost a leg
Hero of Waterloo now has to beg
Wait a bit, know that face...
The Broadway libretto edited it into its current form:
Please monsieur, come this way
Here's a child that ain't eaten today
Save a life, spare a sou
God rewards all the good that you do
Wait a bit, know that face...
It's interesting how Thenardier's facade shifts in focus from his own supposed hardship to that of an alleged child. I suppose the latter would be a good bit more effective in convincing passersby to donate!
During "Javert's Intervention", Thenardier now says "It was me that told you so, as opposed to the original "Wot told you so"; however, this seems to be a regional choice to account for a lack of Cockney accent, not an official libretto change. British productions retain the original "Wot".
“The Robbery” ends quite differently. Its pre-Broadway form had Gavroche’s remarks directly follow Javert’s “Clear this garbage off the street!” However, now Javert’s line is instead followed by some instrumentals to a slower version of the same tune as, for instance, “Honest work/Just reward/That’s the way to please the lord” and “He will bend/He will break/This time there is no mistake”.
After these instrumentals come the “Stars” number, now in a much more natural location given that Javert now has a logical reason to be thinking about Valjean!
The number itself is mostly the same, up until the final segment. After Javert’s “Those who falter and those who fall must pay the price”, he originally had the following lyrics:
Scarce to be counted
Changing the chaos
To order and light
You are the sentinels
Silent and sure
Keeping watch in the night
Keeping watch in the night
The post-Broadway show replaced this with a much more climactic remark:
Lord let me find him
That I may see him
Safe behind bars
I will never rest ‘til then
This I swear
This is swear by the stars
WOW, what an improvement! Now the stars are tied much better to Valjean himself, and Javert’s motivation is much clearer!
Now that “Stars” is over, we finally get Gavroche's remarks. The lyrics are the same; however, instead of the tempo progressively getting faster as it goes along, it now gets progressively slower. Interestingly the audio of the first preview has Gavroche saying "mother dear" instead of "auntie dear", but it's back to the original line by the second known original Broadway cast audio. Both audio feature Braden Danner; whether the "mother dear" was a choice on his part or a director's, a flub, or a libretto change that was later reverted is unknown.
"Eponine's Errand" has some significant changes. First off, the original libretto gave Marius and Eponine this exchange:
(MARIUS)
Did you see that lovely girl
(EPONINE)
A lovely two-a-penny thing
The Broadway libretto edited it a little:
(MARIUS)
Eponine, who was that girl?
(EPONINE)
Some bourgeois two-a-penny thing
Marius' request has also been changed from its original lyrics:
Eponine, do this for me
But careful how you go
Your father mustn't know
He'll strike another blow
'Ponine, I'm lost until she's found
Into some far clearer and more direct instructions:
Eponine, do this for me
Discover where she lives
But careful how you go
Don't let your father know
'Ponine, I'm lost until she's found
And yes, the line was "your father" right from day one. Michael Ball flubs it as "her father" on the complete symphonic recording, leading many to assume that was the original lyric which was changed later. But I'm not aware of a single live performance to use that lyric (which doesn't make a lot of sense anyway).
Another side note: Some Marius actors have very slightly changed the third line to "Be careful how you go" or "But careful as you go", though neither lyric is the standard.
Post-Broadway, as the instrumentals to "Red and Black" play, a student (I'm not sure which one) now shouts Enjolras' name before the singing begins.
During "Red and Black", Michael Maguire changes the original "It is easy to sit here and swat 'em like flies" to "Oh, it's easy to sit here and swat 'em like flies". However, this is an individual choice of the actor, not an official libretto change. Every future Enjolras I'm aware of (except Ramin Karimloo for some reason) uses the original line.
An actual libretto change occurs soon afterwards. After Marius' entrance, Grantaire originally asks, "Marius, what's wrong with you today?" The post-Broadway show changes this to "Marius, you're late. What's wrong today?" This makes it much clearer why Grantaire might suspect something is wrong.
Soon afterwards, Grantaire's original line "We talk of battles to be won, and here he comes like Don Juan" is slightly tweaked to "You talk of battles to be won". This is a little more appropriate, since Grantaire isn't actually doing a lot of talking!
After "Red and Black", Gavroche's part is very slightly changed. First off, American performances for a few years would have Gavroche whistle right before everyone quiets down, though I have no idea if this was in the libretto or not.
Secondly, Gavroche's original remark, "It's General Lamarque! He's dead!" is shortened to just "General Lamarque is dead!"
In another contender for the biggest change in the entire edit, the entire "I Saw Him Once" number is totally removed. I have mixed feelings about this. It does give Cosette, a frustratingly underwritten character, some additional content. However, stylistically it's not all that much like any other number in the musical, and it doesn't really add enough information to the show to warrant a whole song. So I say with regret that it was probably for the best to delete the number.
To compensate for the lost number, "In My Life" is lengthened to include the establishing character moments that "I Saw Him Once" originally did. Originally it opened as follows:
(COSETTE)
Dearest papa, can I tell him of this?
How can I tell him the things that I feel?
How could he understand?
(VALJEAN)
Dear Cosette, you're such a lonely child...
The post-Broadway opener is instead as follows:
(COSETTE)
How strange, this feeling that my life's begun at last
This change, can people really fall in love so fast?
What's the matter with you Cosette?
Have you been to much on your own?
So many things unclear
So many things unknown
In my life
There are so many questions and answers
That somehow seem wrong
In my life
There are times when I catch in the silence
The sigh of a faraway song
And it sings of a world that I long to see
Out of reach, just a whisper away, waiting for me
Does he know I'm alive? Do I know if he's real?
Does he see what I see? Does he feel what I feel?
In my life
I'm no longer alone
Now the love in my life is so near
Find me now, find me here
(VALJEAN)
Dear Cosette, you're such a lonely child...
After Valjean gives Cosette his cryptic defense of his secrecy, Cosette had a remark that is sadly incredibly hard to understand in the quality of the recordings we have. It apparently went something like this:
There are voices I hear
That come into my mind
Full of noise, full of fear
When the noise was unkind
In my life
I'm no longer afraid
And I yearn for the truth that you know
Of the years, years ago
Her post-Broadway response is much shorter:
In my life
I'm no longer a child
And I yearn for the truth that you know
Of the years, years ago
Shorter, but just as effective in my book. Plus, the use of the word "child" nicely ties into Valjean's initial remark that Cosette is "such a lonely child", as well as Cosette's frustration that he still sees her as "a child who is lost in the woods".
The next number, "A Heart Full of Love", also has a LOT of rewritten lyrics. First of all, after Marius' "I do not even know your name", these are his original lyrics:
Dear mademoiselle
I am lost in your spell
The Broadway production changed the lyrics into:
Dear mademoiselle
Won't you say? Will you tell?
I suppose this fits a little better with his remark about not knowing Cosette's name.
After Marius and Cosette finally learn each other's names (an important step in a relationship if you ask me!) this was their original way of showing their affection:
(MARIUS)
Cosette, your name is like a song
(COSETTE)
My song is you
(MARIUS)
Is it true?
(COSETTE)
Yes, it's true
The Broadway production rewrote it into the following:
(MARIUS)
Cosette, I don't know what to say
(COSETTE)
Then make no sound
(MARIUS)
I am lost
(COSETTE)
I am found
In my opinion, the rewrite captures the slight awkwardness of young love much better, as well as making a lot more sense!
Immediately afterwards, this is the original exchange:
(MARIUS and COSETTE)
A heart full of love
A heart full of you
(MARIUS)
The words are foolish but they're true
Cosette, Cosette
What were we dreaming when we met?
(COSETTE)
I can sing
(MARIUS)
Dear Cosette
(COSETTE)
A heart full of love...
The Broadway libretto redoes the scene as the following:
(MARIUS)
A heart full of love
(COSETTE)
A night bright as day
(MARIUS)
And you must never go away
Cosette, Cosette
(COSETTE)
This is a chain we'll never break
(MARIUS)
Do I dream?
(COSETTE)
I'm awake
(MARIUS)
A heart full of love...
Almost a totally different scene! The post-Broadway variant is better structured, but I do like the original too.
As the trio of Marius, Cosette, and Eponine exchanges inner monologues, Marius originally has the line "I saw her waiting and I knew". The Broadway libretto changed this to "A single look and then I knew". I kind of prefer the original, as it implies a little more than something as trivial as a cursory glance.
In the closing lyrical overlap of the song, Cosette originally sings "Waiting for you", but post-Broadway she sings "I knew it too". Then, she originally sings "At your call" but post-Broadway she sings "Every day".
During the opening to "The Attack on Rue Plumet", Montparnasse refers to Valjean as "the one that got away the other day" as opposed to his original "the bloke wot got away the other day". However, this is another regional change made for the sake of making sense outside of a cockney accent. The official libretto still had the original lyrics.
A tiny change occurs during Thenardier and Eponine's fight. Claquesous originally thinks it's a palaver and an absolute treat "to watch a cat and its father" picking a bone in the street. The Broadway libretto changed this to "see a cat and a father". Why exactly the writers felt the need to make such a miniscule edit is mystifying to me, but it certainly doesn't hurt anything.
Another change occurs later in the number, after Eponine's scream. Originally this was Thenardier's reaction:
Make for the sewers, don't wait around
Leave her to me, go underground
You wait my girl, you'll rue this night
I'll make you scream, you'll scream alright!
These lines were mixed up a bit for the Broadway libretto:
You wait my girl, you'll rue this night
I'll make you scream, you'll scream alright!
Leave her to me, don't wait around
Make for the sewers, go underground
The post-Broadway variation arguably is a bit less climactic due to it not ending on a threat. However, the original climax isn't all that appropriate since Eponine and Thenardier never actually interact at any later point in the musical. I like that the post-Broadway version ends on something that's actually relevant to the remainder of the show (namely, that Thenardier will be in the sewers). Evidently the West End producers didn't agree with me; this is another line in which the original was kept there for more than a decade (at which point a rewrite closer to the original was already being used worldwide)!
In "One Day More", Javert's "One day more to revolution" is slightly changed to "One more day to revolution". However, the number is otherwise unchanged.
And that's it for Act One! The opening barricade scene to act two has a small change. Grantaire's pre-Broadway "Some will bark, some will bite" was changed to "Dogs will bark, fleas will bite". Makes a lot more sense in my opinion!
The opening to "On My Own" is changed as well. Originally it was performed as follows:
And now I'm all alone again
Nowhere to go, no one to turn to
I did not want your money sir
I came out here 'cause I was told to
The Broadway version rewrote it into the following:
And now I'm alone again
Nowhere to turn, no one to go to
Without a home, without a friend
Without a face to say hello to
A huge improvement in my book. It actually rhymes now, and is far less likely to be misconstrued as ungrateful.
After receiving a massive overhaul not that long before, "Little People" was slightly tweaked for the Broadway show. The pre-Broadway version had this ending:
So never kick a dog
Because he’s just a pup
You’d better run for cover when the pup grows up!
Another line (taken from the original longer version of "Little People" as well as all versions of its reprise) was added for the post-Broadway show:
So never kick a dog
Because he’s just a pup
We'll fight like twenty armies and we won't give up
So you’d better run for cover when the pup grows up!
Grantaire's line afterwards is literally reversed in meaning from the original "Better far to die a schoolboy than a policeman and a spy!" into "What's the difference? Die a schoolboy, die a policeman, die a spy!" This post-Broadway lyric fits better into Grantaire's cynical personality.
A very subtle edit is made in "Little Fall of Rain" (to the point that I only just realized its existence by reading an old internet forum!) Pre-Broadway, Marius asks Eponine "Did you see my beloved?" The tense is changed from past to present perfect for the Broadway libretto, so that he now sings "Have you seen my beloved?"
"Drink with Me" receives quite a bit of editing. The opening few lines are originally all sung by Grantaire:
Drink with me to days gone by
Sing with me the songs we knew
Here's to pretty girls who went to our heads
Here's to witty girls who went to our beds
Here's to them and here's to you
Now, those lyrics are split between various students:
(FEUILLY)
Drink with me to days gone by
Sing with me the songs we knew
(PROUVAIRE)
Here's to pretty girls who went to our heads
(JOLY)
Here's to witty girls who went to our beds
(ALL STUDENTS)
Here's to them and here's to you
A far more touching scene now that it entails an entire group of friends reminiscing about their lives, as opposed to the thoughts of one heavily drunk individual.
Originally this was followed by a segment by the male ensemble:
Drink with me to days gone by
To the life that used to be
At the shrine of friendship never say die
Let the wine of friendship never run dry
Then, this was followed by the same lyrics, but sung by the male and female ensembles overlapping. The Broadway libretto removes that and replaces it with an all-new segment with Grantaire. It's much more cynical and philosophical than his original lines:
Drink with me to days gone by
Can it be you fear to die?
Will the world remember you when you fall?
Could it be your death means nothing at all?
Is you life just one more lie?
The lyrics from the pre-Broadway show, in their male-and-female overlapping form, are played afterwards.
The next change occurs during the Second Attack. Pre-Broadway, this was how the opening lyrics went:
(ENJOLRAS)
How do we stand, Feuilly make your report
(FEUILLY)
We've guns enough but bullets running short
(MARIUS)
Let me go into the street
There are bodies all around
Ammunition to be had
Lots of bullets to be found
Some very small edits were made for Broadway:
(ENJOLRAS)
How do we stand, Feuilly make your report
(FEUILLY)
We've guns enough but ammunition short
(MARIUS)
I will go into the street
There are bodies all around
Ammunition to be had
Lots of bullets to be found
The following exchange also is a bit edited. Here's how it went pre-Broadway:
(ENJOLRAS)
I can't let you go, it's too much of a chance
(MARIUS)
And the same can be said for any man here
(VALJEAN)
Let me go in his place, he's no more than a boy
I am old and alone and have nothing to fear
Post-Broadway, it instead goes as follows:
(ENJOLRAS)
I can't let you go, it's too much of a chance
(MARIUS)
And the same is true for any man here
(VALJEAN)
Let me go, he's no more than a boy
I am old, I have nothing to fear
Finally, Gavroche's final lines are as follows pre-Broadway:
So never kick a dog
Because he’s just a pup
You’d better run for cover when the pup grows up
And we’ll fight like twenty armies and we won’t give…
A small edit is made for the Broadway production, so that the latter two lines are reversed:
So never kick a dog
Because he’s just a pup
We’ll fight like twenty armies and we won’t give up
So you’d better run for cover when the pup grows...
I'd say this is an improvement, since Gavroche's death is all the more impactful when his literal last unfinished words are about growing up.
Not long afterwards comes the Final Battle. Leading up to Enjolras' climactic moment, the original lines went as follows:
(ENJOLRAS)
Come on my friends, though we stand here alone
Let us go to our deaths with our face to our foes
(COMBEFERRE)
Let 'em pay for each death with a death of their own
(COURFEYRAC)
If they get me, by God, they will pay through the nose
(ENJOLRAS)
Let others rise to take our place
Until the earth is free
The sequence was edited for Broadway, giving a bit more breathing space:
(ENJOLRAS)
Let us die facing our foes
Make them bleed while they can
(COMBEFERRE)
Make them pay through the nose
(COURFEYRAC)
Make them pay for every man
(ENJOLRAS)
Let others rise to take our place
Until the earth is free
"Dog Eats Dog" is a very heavily-edited number. First off, the vamping at the beginning originally lasts about 30 seconds. By Broadway, it has been reduced to about nineteen seconds.
After Thenardier's "As a service to the town" line, he originally sung the following lines:
It's a world where the dogs eat the dogs
And the worst is as good as the best
It's a stinking great sewer that's crawling with rats
And one rat is as good as the rest
I raise my eyes to see the heavens
And only the moon looks down
That entire sequence was cut for Broadway.
Soon afterwards, Thenardier originally proclaims "Here's a little toy". The Broadway edit changes it to "Here's another toy", perhaps to make it seem less repetitive after his "pretty little thing" line.
The exact same lines from after "As a service to the town" are repeated in the pre-Broadway number after Thenardier's "When the gutters run with blood" line, with one more line added afterwards:
It's a world where the dogs eat the dogs
And the worst is as good as the best
It's a stinking great sewer that's crawling with rats
And one rat is as good as the rest
I raise my eyes to see the heavens
And only the moon looks down
The harvest moon shines down
Unlike the first instance of those lines, they aren't completely excised for Broadway. They are, however, significantly rewritten:
It's a world where the dogs eat the dogs
And they kill for the bones in the street
And God in His heavens, He don't interfere
'Cause He's dead as the stiffs at my feet
I raise my eyes to see the heavens
And only the moon looks down
The harvest moon shines down
I really like how the edited version focuses more on godlessness than on how gross the sewer is. Not that a lack of a god is inherently sinister; I am quite agnostic myself and I think the unbreakable connection between religion and morality alleged by some is ridiculous. But it is blatantly obvious that Thenardier sees no reason to be moral provided no one will punish him.
As a side note, the 1985 London official soundtrack oddly uses this variant, yet the 1986 bootleg audio I have uses the original. Perhaps the original was experimented with, reverted, and later put in again? Who knows...
After the number, Thenardier now shouts Valjean's name.
The encounter in the sewers between Valjean and Javert originally ended as follows, with Javert's first two lines here in a tune not heard anywhere else in the musical to my recollection:
(VALJEAN)
Come, time is running short
(JAVERT)
Go take him, I'll be waiting at the door
I've never met a man like you before
A man such as you
The sequence was extended for the Broadway libretto, to the tune of "Look Down" and the "Work Song":
(VALJEAN)
Come, time is running short
Look down, Javert
He's standing in his grave
(VALJEAN - simultaneously with the next two lines)
Give way, Javert
There is a life to save
(JAVERT - simultaneously with the previous two lines)
Take him, Valjean
Before I change my mind
(JAVERT)
I will be waiting, 24601
A slight change can be heard in "Every Day". Originally Marius sings that he and Cosette will "remember that night and the song that we sang". The Broadway libretto edited this into the decidedly less medium-aware "remember that night and the vow that we made".
"Valjean's Confession" has been reworked to the point that it can scarcely even be considered the same song. After Valjean's "There's something now that must be done", this was how the song went:
(VALJEAN)
Monsieur, I cannot stay a night beneath your roof
I am a convict, sir, my body bears the proof
My name is Jean Valjean
I never told Cosette, I bear this guilt alone
And this I swear to you, her innocence is real
Her love is true
Our love, our life, are now her own
And I must face the years alone
(MARIUS)
I do not understand what's the sense of it all?
Is the world upside down?
Will the universe fall?
If it's true what you say, and Cosette doesn't know
Why confess it to me?
Why confess it at all?
What forces you to speak after all?
(VALJEAN)
You and Cosette must be free of reproach
It is not your affair
There is a darkness that's over my life
It's the cross I must bear
It's for Cosette this must be faced
If I am found, she is disgraced
(MARIUS)
What can I do that would turn you from this...
After the Broadway rewrite, Valjean's "There's something now that must be done" is followed by this:
(VALJEAN)
You've spoken from the heart, and I must do the same
There is a story, sir, of slavery and shame
That you alone must know
I never told Cosette, she had enough of tears
She's never known the truth, the story you must hear
Of years ago
There lived a man whose name was Jean Valjean
He stole some bread to save his sister's son
For nineteen winters served his time
In sweat he washed away his crime
Years ago
He broke parole and lived a life apart
How could he tell Cosette and break her heart?
It's for Cosette this must be faced
If he is caught she is disgraced
The time is come to journey on
And from this day he must be gone
Who am I?
Who am I?
(MARIUS)
You're Jean Valjean
What can I do that will turn you from this...
The few lines afterwards are the same, but as you can see not much else in the song is! Even the tune diverges a lot between the two variants. I'm very conflicted about which one I prefer. I gravitate towards the final one, though it's nice that the original actually tried to address to confusing notion that Valjean wants to tell his son-in-law of his past yet not his own daughter.
"Beggars at the Feast" originally ended with a solo for Thenardier:
(THENARDIER and MME. THENARDIER)
We know where the wind is blowing
Money is the stuff we smell
(THENARDIER)
And when I'm rich as Croesus
Jesus, won't I see you all in Hell!
The Broadway libretto switched this to a group line:
(THENARDIER and MME. THENARDIER)
We know where the wind is blowing
Money is the stuff we smell
And when we're rich as Croesus
Jesus, won't we see you all in Hell!
I much prefer the revised version, as the two Thenardiers clearly are in this act together. It seems more appropriate to let them both have the last laugh.
A small change occurs in the Epilogue. Pre-Broadway, Fantine sings "You raised my child with love". However, post-Broadway, she instead sings "You raised my child in love".
Another change occurs later in the epilogue. In the pre-Broadway show, Cosette tells Valjean that "It's too soon to ever say goodbye". The post-Broadway libretto instead has her sing "It's too soon, too soon to say goodbye". Repetitive as it may be, I prefer it over the original because the original awkwardly combines language clearly denoting the moment with language implying eternality.
Phew, we're finally at the end! Rest assured this is almost certainly the longest changelog you'll ever be forced to endure. I'm fairly sure it's complete, but this particular rewrite was so extensive it's not impossible that I missed something. Please feel free to let me know if that is the case.
As a side note, both for this project and my own enjoyment, I want as complete a collection of Les Miserables audios as possible. I already have most of what’s commonly circulated, but if you have any audios or videos you know are rare, or some audios that you haven't traded in a few years, I’d love it if you DMed me!
Until the turntable puts me at the forefront again, good-bye…
The Les Miserables Changelog Part 2: 1985-1986 West End
Hello, everyone! This is the latest edition in my attempt to chronicle all of the musical and lyrical changes which the show Les Miserables has undergone over the years. Today, we look at the differences between the later of the two available Barbican preview audios (more on that in Part 1) and the West End variant of the musical as it existed in 1986. Only one rather poor quality audio is available of the show's pre-Broadway, post-Barbican form (though a friend of a friend has multiple masters from the era that she apparently keeps meaning to digitize). It is known to come from 1986, but the exact date remains a mystery. As such we cannot know when exactly most of the changes might have been made.
Reportedly (according to The Complete Book of Les Miserables) the majority of these refinements were made between the closing of the Barbican show and the opening of the West End one. However, some further refinements were doubtless made during the Barbican previews, and some likely were made between the opening of the West End production and whenever the audio was recorded. With all that cleared up, let's get started!
As I mentioned in Part 1, the very early Barbican previews of the opening "Work Song" featured this chain of lyrics (no pun intended):
I’ve done no wrong
Sweet Jesus, hear my prayer
Look down, look down
Sweet Jesus doesn’t care
I killed a man
He tried to steal my wife
Look down, look down
She wasn’t worth your life
I know she’ll wait
I know that she’ll be true
Look down, look down
She’s long forgotten you
As has also been established, later previews removed one sequence of lines to create the following exchange:
I’ve done no wrong
Sweet Jesus, hear my prayer
Look down, look down
Sweet Jesus doesn’t care
I killed a man
He tried to steal my wife
Look down, look down
She wasn’t worth your life
However, by 1986 another sequence was removed and the originally removed one was added back then. Thus, the still-current lyrics as of today are as follows:
I’ve done no wrong
Sweet Jesus, hear my prayer
Look down, look down
Sweet Jesus doesn’t care
I know she’ll wait
I know that she’ll be true
Look down, look down
She’s long forgotten you
A much better choice of cuts in my opinion. The point of the opening scene is to present the prisoners sympathetically, as comparatively innocent victims of an overly brutal and elitist police system. Establishing a member of the chain gang as literally being a murderer doesn't really help send that message!
Everything stays the same until "Fantine's Arrest". The Barbican previews feature this sequence:
(FANTINE)
There's a child who sorely needs me
Please monsieur, she's but that high
Holy God! Is there no mercy?
If I go to jail she'll die
(TOWNSPEOPLE[?])
Take this harlot now this minute
Let there be a full report
Let her go back in the morning
Let her answer to the court
(FANTINE)
Gentle Jesus! Won't you save me?
Are there tears enough to cry?
(JAVERT)
It's the same pathetic story
Please monsieur, my child will die!
I have heard such protestations...
By the 1986 recording, everything between "Take this harlot" and "Please monsieur, my child will die!" has been totally removed. I have a bit of a soft spot for that sequence, though I can't earnestly say the musical lost anything by removing it. Indeed Javert comes across as unbelievably heartless there!
As Part 1 pointed out, the earlier Barbican preview had Valjean shout "You know where to find me!" at the end of "Who Am I?", while the later preview did not. The 1986 recording interestingly reinserts that line, but now Valjean speaks it much more casually, without the slightly cheesy passion of the first recording. This makes me wonder whether or not it was initially removed because it was hard to take seriously, and a calmer rendition was reinstated as a compromise? Who knows.
A subtle change occurs at the beginning of the "Confrontation" sequence. During the Barbican previews, the number opens with a few notes being played and then repeated. However, by the 1986 recording the notes do not repeat. It goes straight into Javert's announcement (which Roger Allam has now learned to sing on time!) after the notes play the first time. The sequence would stay this way for quite awhile before being further shortened - more on that in a later edition!
We now go to the subsequent number, Little Cosette's famous "Castle on a Cloud" song. The Barbican previews give her a few lines before the main number starts (sung in a similar tune to her remarks about Mme. Thenardier's arrival at the end of the song):
They’ll come back any minute
And I’m nowhere near finished
Sweeping and scrubbing and polishing the floor
It’s the same every day, oh please!
Don’t let Madame hit me again
I should be used to it, but then
I know a place where nobody has to work too hard
And where I won’t be lonely again
These lines, taken closely from the original French concept album, don't really add much to the number plot-wise that won't be stated later except for more explicit confirmation that Mme. Thenardier is abusive. Perhaps partly for this reason, by the 1986 recording these lines are removed, and after the opening instrumentals it goes straight into the number we all know.
As I previously mentioned in Part 1, the later recording I have of the Barbican previews cut out the following lines during the preamble to Master of the House. I originally mistakenly claimed that the cuts occured after Thenardier's verse, but in actuality that verse too is removed.
(THENARDIER)
My band of soaks, my den of disollutes
My dirty jokes, my always pissed as newts
My sons of whores spend their lives in my inn
Homing pigeons homing in
They fly through my doors
And their money's good as yours
(CUSTOMERS)
Ain’t got a clue what he put into his stew
Must’ve scraped it off the street
Hell, what a wine
Châteauneuf de Turpentine
Must’ve pressed it with his feet
Landlord over here
Where’s the bloody man
One more for the road
One more slug of gin
Just one more or my old man is gonna do me in
By the 1986 recording, they are back in all their glory. Indeed, as you can read in Part 1 of this series Trevor Nunn himself has confirmed that the crew decided the number didn't work as well without the full preamble (an exception being, shockingly enough, Cameron Mackintosh).
During the Barbican previews, "Master of the House" was followed by a beautiful Well Scene between Valjean and Little Cosette:
(LITTLE COSETTE)
There is a castle on a cloud
I like to go there in my sleep
Aren’t any floors for me to sweep
(A FEW SECONDS OF INSTRUMENTALS)
(VALJEAN)
Don’t be afraid of me, my dear
Tell me your name and have no fear
How cold it grows when the sun has set
(LITTLE COSETTE)
I’m not afraid
Monsieur, my name’s Cosette
(VALJEAN)
Nor will you be afraid again
I come to take you from this place
There is a better world, you’ll see
(LITTLE COSETTE)
Give me your hand, and walk with me.
This leads into the humming duet between Valjean and Cosette. However, in what I consider the biggest mistake of this era's adjustments, the Well Scene was totally excised from the West End version and "Master of the House" is following directly by the humming duet. Trevor Nunn remarked a degree of regret about this in 1990's The Complete Book of Les Miserables. I don't have the book on hand right now, but I'll put down the exact quote later.
Of course, the Well Scene would later return in a much different form, but let's not get ahead of ourselves.
Perhaps to compensate for the deleted scene, another scene is added after the "Waltz of Treachery" number. During the Barbican previews, Valjean's "It won't take you too long to forget" is followed by a lot of vamping and eventually a reprise of Valjean and Cosette's humming duet. The West End production slightly reduces the vamping from about one minute to about forty-five seconds, and adds a scene (sung in the tune of "Castle on a Cloud", specifically the "there is a lady all in white" part at first and the main chorus for "Nor will you be afraid again" onwards):
(LITTLE COSETTE)
We're going home right now, monsieur
What is your name
(VALJEAN)
Now my dear
I've names enough, I've got names to spare
But where I go, you always will be there
Nor will you be afraid again
There is a sun that's shining yet
(LITTLE COSETTE)
I'm going to call you my Papa
(VALJEAN)
I'm going to call you my Cosette
The normal humming duet follows. This is a fascinating scene which seems to be exclusive to the brief era after the Barbican previews but before Broadway. It's interesting how it incorporates elements both of the opening Well Scene and of the more well-known later closing scene to the "Waltz of Treachery". It's also intriguing how it incorporates elements not really touched upon this directly in any other version of the musical, specifically just how mysterious and secretive Valjean is to the world in general as well as the fact that Cosette, in fact, is not truly Cosette's given name.
Everything seems to be the same from this point until "The Attack on Rue Plumet". In the Barbican previews, this is how the opening goes:
(EPONINE)
'Parnasse, what are you doing
So far out of our patch?
(MONTPARNASSE)
This house, we're gonna do it!
Rich man, plenty of scratch
You remember he's the bloke wot got away the other day
Got a number on his chest, perhaps a fortune put away
Took off like a guilty man, why would he want to disappear?
Now we're gonna do him right, this time no one will interfere
Everything from "Took off like a guilty man" onwards is removed from the West End version. Later in the number, we hear approximately the following exchange in the Barbican show. Fans have debated what exactly some of the lyrics are, but this is how I hear them:
(CLAQUESOUS)
What a palaver, what an absolute treat
To watch a cat and his father pick a bone in the street
(THENARDIER)
Not a sound out of you
(EPONINE)
What do you care if things scare me
(THENARDIER)
Listen 'Ponine, there might be jewels inside
There could be something for all
There could be bruises enough
You will have your share
(EPONINE)
Well I told you I'd do it, I told you I'd do it
The West End production reduces the vamping prior to this scene. Additionally, everything between "What do you care" and "You will have your share" is removed, meaning the "I told you I'd do it" is a direct remark to "Not a sound out of you". This is a much more linear and succinct way of moving the plot in my humble opinion!
That's it for act one! Act two begins largely the same, up until the scene where Gavroche reveals Javert to be a traitor. First off, Javert's original claim that they will "play their games" is changed to "spoil their games".
Next is probably this version's biggest change in the entire musical up to this point. Originally Gavroche sung approximately the following lines (once again, the recordings aren't as clear as would be desirable) in a unique tune heard nowhere else in the musical:
Good evening, dear inspector, lovely evening my dear!
A charlie for a copper who pays a call
I know who you’re supposed to be, Inspector Javert
Who never showed no mercy to no one at all
So don’t believe a word, none of it will wash
This time you’re reckoned without Gavroche!
The West End version scrapped this sequence and replaced it with "Little People" (which originally appeared in a much longer form later in the musical). This is how it went:
Good evening dear inspector, lovely evening my dear
I know this man, my friends, his name's Inspector Javert
So don't believe a word he says 'cause none of it's true
It only goes to show what little people can do
And little people know, when little people fight
We may look easy picking but we've got some bite
So never kick a dog because he's just a pup
You'd better run for cover when the pup grows up!
This edited placement of "Little People" is often attributed to the original Broadway production, but in fact it made its debut in the West End show. I'm not sure when exactly this was, given that the original cast album uses the long version. However, by the 1986 recording this is how it goes. It should be noted that it's not quite in its Broadway form, however; most notably, "We'll fight like twenty armies and we won't give up!" is not present.
A minor difference occurs during the First Attack sequence. In the Barbican production, this is how the students respond to their victory:
(GRANTAIRE)
By God, we've won the day
(LESGLES)
See how they run away
The West End production swaps the two students' lines, allowing Grantaire's slightly incredulous spirit to have a more poignant and/or amusing effect depending on your perspective.
Consequently given the new placement of the song, the show obviously had to be edited to remove the original "Little People" number. Originally, this is the way the show transitioned between the First Attack and "Little People":
(ENJOLRAS)
Courfeyrac, you take the watch
They won't attack until it's light
Everybody stay awake
We must be ready for the fight
For the final fight
Let no one sleep tonight
(GRANTAIRE)
Only little boys may sleep
For little people need their rest
Little tucks are quickly drained
And little grapes are quickly pressed
Come on little mite
It's time to say goodnight
Cue the original "Little People" number in all of its long, silly glory (in case you somehow don't know it, here are the lyrics). The West End production (and everything afterwards) cuts Grantaire's verse, so that the scene transitions straight from Enjolras' announcement to "Drink with Me". As much as I love the full-length "Little People" number (and I really do love it), I admit removing it was definitely the right choice. It's just so sweet and optimistic, it feels out of place in a musical as tragic and cynical as Les Miserables. It doesn't help that its placement is between a high-stakes action scene and a somber, slightly drunk reflection on the nature of friendships, sex, and romance. It's a wonderful song but a terrible Les Mis song. I do love it, though, and I also love how Grantaire manages to make his pre-song metaphors alcohol-related.
In the sewers, the Barbican recordings feature a unique tune not heard anywhere elsewhere in the musical (it can be heard here) before transitioning to the final Valjean-Javert confrontation. Apparently, this music was accompanied by a short chase scene. However, by the time of the 1986 recording there is instead what is essentially one repeated note which then transitions into an instrumental version of "Look Down". This is followed by the same Valjean-Javert confrontation as before.
And that just about sums this part up! If I missed anything feel free to let me know, as my goal is to create a changelog as thorough and complete as possible. I plan on making more parts in the near future covering all the changes that have been made in the show up until this day (discounting concerts). Any feedback and constructive criticism is very much appreciated.
As a side note, both for this project and my own enjoyment, I want as complete a collection of Les Miserables audios as possible. I already have most of what’s commonly circulated, but if you have any audios or videos you know are rare, I’d love it if you DMed me!
Until the turntable puts me at the forefront again, good-bye…
The Les Miserables Changelog Part 1: Barbican Previews
Hello everyone! I'm starting out a blog which will look at my favorite musical, Les Miserables, and will discuss the various changes it has gone through over time (musically and lyrically). As it turns out, a LOT of edits have been made over the years so this will doubtless be a series with several parts.
This first part may well be the most difficult and will almost certainly be the most incomplete, as previews can be a time of extensive editing and experimentation. At least for the first few weeks or so, it's perfectly possible any one day of previews will be slightly different than any other day. However, I only have access to two audios from the Barbican Theatre previews of Les Miserables, meaning it's likely that lyrical variants exist which I have no way of hearing.
I am aware of the existence of a third audio which is fairly early in the run of previews, as the tape's master has told me that Gavroche's death scene is in its original form (I'll clarify that later). However, that tape has never been traded, and has sadly only been listened to by its master. I am also aware of a video proshot of the Barbican era that exists in the Royal Shakespeare Company library, but currently have no access to it. I plan to inquire about whether I can look at it sometime (though I'm not sure a blog like this is "official" enough to warrant it for research purposes). As such, this comparison only entails the two widely circulated audios from the Barbican run.
Now that we've gotten that cleared up, let's get started!
First, let's look at the opening "Work Song". In the earlier recording I have (let's call it R1), the beginning music (the same tune used, for instance, at the opening of "At the End of the Day" and "One Day More" and for Marius and Cosette's meeting in "The Robbery") stops. Then, a few moments later, the more familiar opening that leads directly into the prologue begins. By the time of the later recording I have (let's call it R2), the scores have been combined so that the first tune directly transitions into the second one.
Meanwhile, in R1 there is a sequence of lines that goes as follows:
I've done no wrong
Sweet Jesus, hear my prayer
Look down, look down
Sweet Jesus doesn't care
I killed a man
He tried to steal my wife
Look down, look down
She wasn't worth your life
I know she'll wait
I know that she'll be true
Look down, look down
She's long forgotten you
Most fans of the musical recognize the middle sequence of lines ("I killed a man" through "She wasn't worth your life") as no longer being lines in the show (for good reason, as we'll get into in a later edition of this blog). However, R2 keeps the lines. Instead, it deletes the third sequence ("I know she'll wait" through "She's long forgotten you"). I have no idea if this lasted only a few performances or made it all the way to the end of the Barbican run, or somewhere in between.
During "On Parole", specifically after Valjean is underpaid for his labor and sings about his frustration, R1 uses a variation of the "Work Song" theme which, to my recollection, is heard nowhere else in the musical. It can be heard here. By R2, it was switched to an in-tune version of the number with a unique opening. The musical retains that version to this day, but in case you can't recall it you can hear it here.
Minus an unintentional line flub in "At the End of the Day" in R2, the two Barbican recordings seem to use the same libretto and score from this point until "The Runaway Cart". At this point, R1 has a rather extensive scene leading up to Valjean saving Fauchelevent, which goes approximately as follows (the dialog is difficult to make out):
(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 who will
We can’t let him die like that down in the street
Can you all watch him die and do nothing at all?
(FAUCHELEVENT)
Don’t approach me, Monsieur Mayor
The cart’s not gonna be holding
Not my poor mother would care if I should die
(TOWNSPEOPLE)
Don't go near him, Monsieur Mayor
There's nothing at all you can do
The old man's a goner for sure
Leave him alone
Most of that dialog is deleted in R2, so that it goes directly from "Who will help me to shoulder the weight of the cart" to "Don't go near him, Monsieur Mayor". I really like the idea of the original version; it seems reasonable that Valjean, having become a more trusted man, would expect the townspeople to help him. It's more meaningful that Valjean is good enough to do what's right when there's more time to establish that no one else is. Having said that, the original version did take quite a while and didn't really contain any relevant information that wasn't in the final version. I think the cut version as heard in R2 is a good compromise and retains the general mood and pacing to make Valjean's ultimate action satisfying (something that can't be said of later cuts, as will be discussed in a future edition of this blog).
Additionally, at the end of the number Javert refers to "the mark upon his skin" in R1 and "the brand upon his skin in R2 (as well as literally every subsequent performance since then to my knowledge). I have no idea if the "mark" line was a minor flub or was actually the original lyric.
"Who Am I?" is an interesting one. The musical content is identical in R1 and R2, but in R1 after his high note, Valjean shouts "You know where to find me!" with emotion so dramatic it sits right on the border between awesome and campy. By contrast, Valjean is totally silent after his high note in R2. Neither version would see its final day just yet, although the latter certainly has become more traditional over time. More on that in future editions.
From this point until "Master of the House" everything is the same between the two recordings. Roger Allam even comes in slightly late in both "Confrontation" scenes (making his line "-jean, at last...")! However, in the opening to "Master of the House" the following lines occur in R1:
(THENARDIER)
My band of soaks, my den of dissolutes
My dirty jokes, my always pissed as newts
My sons of whores
Spend their lives in my inn
Homing pigeons flying in
They fly through my doors
And their money's good as yours
(CUSTOMERS)
Ain't got a clue what he put into his stew
Must've scraped it off the street
Hell, what a wine
Châteauneuf de Turpentine
Must've pressed it with his feet
Landlord over here
Where's the bloody man
One more for the road
One more slug of gin
Just one more or my old man is gonna do me in
All of those lines would be scrapped in R2. Personally I prefer this shortened variant than the one that would occur much later. Sure, some fun moments get lost, but nothing that actually adds any substance or characterization to the musical (unlike the later cut, which I'll discuss in a later edition of this blog). Some have speculated that this is simply lost dialog due to a tape flip of degrading, given that future performances would retain those lines. However, there is firsthand confirmation that the cuts were in fact part of the performance. To quote Trevor Nunn on page 87 of 1990's The Complete Book of Les Miserables (a page which elaborates that "the cost of overtime incurred after three hours could be crippling at a time when Les Miserables was still trying to find an audience"):
"Cameron wanted major cuts, which would have reduced its length to two and a half hours. I resisted, refusing to discuss things on those terms... Some of the other proposed cuts - like the removal of the "Master of the House" scene-setting preamble - were tried out in previews and then restored as the scenes would not work without them."
From a historical perspective that quote is invaluable. As will be brought up in a later blog post (notice a pattern today?) the musical would in fact be cut much later to avoid overtime charges. When people like myself have expressed the opinion that these cuts come at the expense of artistic integrity, I've seen others defend them by claiming that the overtime costs never were relevant to Cameron and the gang until Broadway sales began to go down, and that if they were taken into account the musical may well be in its shortened form from the beginning. However, this quote proves that argument to be false. Right from day one, the crew was aware that retaining a >3 hour runtime would come with severe financial costs, but this was deemed a worthy sacrifice in order to tell the story they wanted told. Indeed, it sounds like Cameron Mackintosh was waiting quite some time to enact his infamous cuts! (Cameron Mackintosh valuing profit above art?! Crazy, right??)
But I digress. Going back to the musical, the "Waltz of Treachery" number is mostly the same. However, after Valjean's "It won't take you too long to forget" line, R1 has over a minute of wordless vamping which leads right into the rather awkwardly-placed "Stars" song. By contrast, in R2 this vamping (which is still a minute long, mind you) leads into a humming duet between Little Cosette and Valjean, similar to the duet right before the number. A nice little bookend that makes the scene feel all the more resolved. (Much later this duet reprise would ironically be scrapped again, though!) The remaining segment of R1's vamping now plays after this sequence in R2.
Minus some unintentional missed lines at the beginning of "Stars" in R1, the recordings seem to follow the same libretto right up until "One Day More". Here, R1 uses the following lines:
(EPONINE)
One more day with him not caring
(MARIUS and COSETTE)
Was there ever love so true?
(EPONINE)
What a life I might have known
(MARIUS and COSETTE)
I was born to be with you
However, by R2 this scene is in its current form:
(EPONINE)
One more day with him not caring
(MARIUS and COSETTE)
I was born to be with you
(EPONINE)
What a life I might have known
(MARIUS and COSETTE)
And I swear I will be true
And that closes act one! Going on to the second act, the opening barricade scene has a few changes. First off, following the opening notes, R1 features a rather odd tune bearing resemblance to "Do You Hear the People Sing" (which can be heard here) before transitioning to a more true-to-form instrumental reprise of "Do You Hear the People Sing?" By contrast, R2 goes straight from the opening notes to the true-to-form reprise.
Next, Enjolras proclaims "Have faith in yourself and do not be afraid" in R1, while in R2 he instead states "Every man to his duty and don't be afraid". It's unknown if this was an intentional libretto change or if it simply reflects a flub during R1. A later sequence uses the "Have faith in yourself" line, meaning he may have just sung the wrong line for that particular scene.
Finally, R1 includes the following sequence (at least I think this is how it goes, since the lyrics are a little hard to hear):
(PROUVAIRE)
And the people will fight
(GRANTAIRE)
And join with you
Who gives a speech in the square
Fortunately, R2 uses a much less clunky (though still somewhat so) sequence:
(PROUVAIRE)
And the people will fight
(GRANTAIRE)
And so they might
Some will bark, some will bite
This isn't quite its current form ("dogs" and "fleas" will soon respectively replace the two usages of "some"), but it's pretty darn close.
I've heard that the very first Barbican preview(s?) didn't have a finalized opening to "On My Own". Sadly there is no known audio record of this, so I cannot comment on what exactly it began as. As such, the next major change takes place during Gavroche's death scene. This honestly is probably the biggest of all the changes between the two recordings. R1 uses the following death scene (in the tune of "Look Down" right up until the "So never kick a dog" verse, which is in the tune of "Little People"):
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
Some fool, I bet, whose brains are made of fat
Picks up a gun and shoots me down
Nobody told him who he’s shooting at
He doesn’t know who runs this town
Life’s like that
There’s some folk
Missed the joke
That’s three, that’s three
That one has done for me
Too fast, too fast
They’ve got Gavroche at last
So never kick a dog
Because he’s just a pup
You better run for cover when the pup grows...
By contrast, R2 uses a much shorter variant which is set entirely to the tune of "Little People":
And little people know
When little people fight
We may look easy picking but we've got some bite
So never kick a dog
Because he's just a pup
You'd better run for cover when the pup grows up
And we'll fight like twenty armies and we won't give...
This is much closer to its current form, although the last two lines are inverted (we'll get to that in a later edition).
We now fast-forward to "Dog Eats Dog", which while recognizable is very different from the number we know today. The chorus of R1 claims that "It's a dirty great sewer that's crawling with rats", which R2 changes it to "stinking great sewer" instead. I'd definitely say the revised lyric better captures Thenardier's and the sewer's grossness.
Additionally, regarding Marius' ring, Thenardier originally exclaims that he "didn't mean to waste it, that would really be a crime". By R2, the line changes to "wouldn't want to waste it", which I'd say makes a lot more sense.
"Javert's Suicide" has changed a lot. R1 features the following remarks following "Vengeance was his and he gave me back my life":
Damned if I live in this caper of grace
Damned if I live in the debt of Valjean
I'll spit his pity right back in his face
Is this the law or has sanity gone?
(I'm a little unsure as to how accurate the final line is.)
By R2, the lines have been replaced with the current ones:
Damned if I live in the debt of a thief
Damned if I yield at the end of the chase
I am the law and the law is not mocked
I'll spit his pity right back in his face
In R1, the "Where's the new world, now the fighting's done" line is absent, and there is nothing but instrumentals in the segment where it is usually sung. By contrast, it is sung as usual in R2. My guess is that an actress simply forgot her line in R1 and it was always supposed to be there, though I can't say for sure.
The final change occurs at the wedding scene. The singing which opens the number is repeated in R1. By contrast, R2 has it sung once and then done with, as it currently is (and as it should be in my opinion, since the music isn't particularly pretty and contributes nothing to the plot).
Later in the same scene, R1 includes approximately this exchange (again, it's quite hard to make out the exact lyrics):
(THENARDIER)
I was there
Never fear
Even got me this fine souvenir
He was there
Her old dad
*indecipherable* and fleecing this lad
Robbed the dead
That's his way
(MME. THENARDIER)
That's worth five hundred any old day
(MARIUS)
I know this...
By R2, everything between "He was there" and "Any old day" were removed, which makes sense given that they essentially just rehash what was already said.
Finally, there's a subtle difference in the epilogue, specifically during the "Do You Hear the People Sing?" reprise. In R1, the ensemble sings "They will live again in glory in the garden of the Lord". R2 replaces the word "glory" with "freedom", and that word remains the one used to this day. I suppose "freedom" is more appropriate for the context of peace and prosperity. To many, I'd guess that "glory" conjures imagery of knights, battles, and the like; just the kind of violence that the characters wish to move away from! I have no idea if this was why the writers changed the lyric, but it's my hypothesis.
Towards the end of the show, the chorus in R1 sings "Even the darkest moon will end and the sun will rise". By R2, this is changed to "the darkest night". Makes more sense to me, since moons aren't known for being particularly dark!
And that just about sums this part up! If I missed anything feel free to let me know, as my goal is to create a changelog as thorough and complete as possible. I plan on making more parts in the near future covering all the changes that have been made in the show up until this day (discounting concerts). Any feedback and constructive criticism is very much appreciated.
As a side note, both for this project and my own enjoyment, I want as complete a collection of Les Miserables audios as possible. I already have most of what's commonly circulated, but if you have any audios or videos you know are rare, I'd love it if you DMed me!
Until the turntable puts me at the forefront again, good-bye...
