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[vapaus-ystavyys-tasaarvo]

Les Mis locations: the Barricades & the Corinthe (illustrations)

[Part one with the maps is here] It might be a good idea to read it first. I’m not really planning on repeating my explanations for this stuff here.

So I know many of you have seen this Charles Marville photo of the Les Mis barricade location. But the thing is, this picture was taken over thirty years later and Rue Rambuteau (which absorbed Rue de la Chanverrerie) was one of the first big rebuilding projects of the 19th century in the historical centre of Paris. Actually I think it was THE first, and it happened even before the whole Haussmann thing started, during Louis-Philippe’s reign.

So my point is, as amazing and cool as this picture is… it doesn’t actually give you a good idea of the location. At least in terms of it’s dimensions, and it doesn’t fit Hugo’s descriptions either. I wanted to comment on that but in the end I realised that the easiest way to explain this would be to draw it myself.

I used the photo as my model and this was the result:

Okay, it’s not very pretty (especially everything that’s not Corinthe) but it’s not supposed to be. This isn’t fanart, this is a demonstration. :p

So this is basically the same view but reconstructed to look more like how Hugo describes it. (Which is not necessarily perfectly historically accurate but we’re talking about fiction here anyway.) I also tried to add details from the book but obviously there’s some room for interpretation there too… Like for example Hugo mentions that the upper floor of the wineshop only had one window but there’s nothing about WHERE that window was. (Aside from that it was definitely on the Rue de la Chanvrerie side of the house.) He also doesn’t say much about the windows of the apartment of the Hucheloups that was above it. Also I don’t know where on the wall the “Carpe Horas” text was exactly or how the signs were positioned etc.

Also Corinthe is green just to make it stand out. :P There’s no other reason for that.

So mostly this is about the general look of the place, not the details. I could have drawn the houses as featureless blocks just as well. The details are just more fun.

Things to note:

1: The Rue de la Chanverrerie was much, MUCH shorter than the Rue Rambuteau. This is where it ended. Hugo describes a tall house at the end of the street with a small but sturdy door. Le Cabuc shot the portier of this house. (In real life there were two houses at the end of the street, both only half exposed to the Rue de la Chanverrerie. But again: fiction!) It was also way narrower!

2: The gutters used to be in the middle of the street and the streets would be more or less sloped towards the middle.

3: The Corinthe house is described by Hugo as shorter than the house in the photo. This isn’t super clear in my drawing but it’s supposed to be just ground floor + two floors and attic.

4: The streetlamps used to hang by ropes.

5: The thing at the street corner is a “borne” which translates either as bollard or milestone. I don’t know which is accurate in this case but I just googled “borne” in canon era and this is what I got so I went with that. My reference for this comes from here, here and here and also somewhat here. I was vague about the number since I have no idea what it would have been, if there even would have been a number. Hugo describes the bollards as “encircled with iron hoops” which I couldn’t find visual reference for. There were multiple on the street but I only know the exact location of this one because Valjean is mentioned sitting on it at one point.

6: I didn’t colour the street sign since I didn’t colour anything else in real colours either but in case you want to know, the street signs were ochre with either black or red text. Red text was for streets that were parallel to the river, black for every other street. The Rue de la Chanvrerie was parallel to the river so it had red text (and numbers), while the Rue Mondétour had black text (and numbers). I think this system was relatively new. It probably dates back to 1805 but I’m not entirely sure. Here’s my source. Also you can see one of the signs (badly) in this painting. I didn’t add the numbers since I’m not so sure about where they would have been… but in any case the address of the Corinthe building would have been number 28 Rue de la Chanverrerie and the number would have been marked with red.

7: Obviously there should be all sorts of clutter on the streets but I couldn’t be bothered to draw any of it. And it’s not the point here anyway.

I had to extend the picture a bit so I could include the barricades! Note that the street widens here towards the right… not that you can tell in the picture… There might have also been a bit of a slope?

And here we have the barricades. The bars have been removed from the windows of the wineshop too. Otherwise I didn’t really change much. I didn’t draw the tables and chairs that would have been taken outside, or the barrels of powder or other stuff that the revolutionaries needed, or the general destruction that happened during the building of the barricade. This is very very simplified. There should also be a lamp on the small barricade and a torch on the big one but I left them out.

I know the big barricade looks like it’s just made of paving stones but that’s just because I couldn’t be bothered to extend the picture to include it completely. The random stuff is on the outside. The inside is arranged into steps so the fighters can easily climb it. You can see similar constructions in pictures of real barricades. I mean mine is a bit simple but still. (Obviously the reason people tend to draw the barricades as full of clutter on both sides is because it looks more dramatic but it actually makes way more sense to build the inside tidily out of bricks and the outside out of random stuff that makes it difficult to climb.)

I think the paving stones inside the barricades hadn’t been torn up yet on the 5th? I think they tore them up when they started raising the height of the big barricade and building the third barricade to close the last way out.

Here’s the close-up map again for quick reference.

I hope this is helpful to somebody! :D Also if you think I made mistakes here, please let me know!

[nevermorecheesecake]

I was patterning the red death costume from the phantom of the opera and realized that the reason the costume looks like a smol bean because I'm a very average sized asian female.

The good news is I don't need that much fabric.

[nevermorecheesecake]

It is in fact more loose now because I failed at pattern making (sad)

I’m considering redoing the pattern block with an auto generated pattern.

[nevermorecheesecake]

I was patterning the red death costume from the phantom of the opera and realized that the reason the costume looks like a smol bean because I'm a very average sized asian female.

The good news is I don't need that much fabric.

[nevermorecheesecake]

I blame this for my love of CoMC and niche musicals. Like it's not the most accurate adaptation, there's Fernand Danglars which is somewhat understandable but weird, but I have a very strong vision if I can raise enough funds to stage it.

The Count of Monte Cristo: The Musical

The Original Cast Recording of The Count of Monte Cristo: The Musical. If you'd like to download a digital copy of our album which is donati

[aphrodesca-deactivated20260324]

L'orage (by Danglars, Fernand, and Villefort)

Verse 1 :

? : Si nos actes, bien qu'ils nous coûtent, disent ce que nous sommes,

Si la fin justifie tout, restons des hommes.

Danglars : Comment peut-il me doubler, je le jure, j'étais fait pour devenir capitaine ?

Fernand : Comment peut-il me dérober sous mes yeux celle qui en est la prunelle ?

Danglars : Je ne pourrais supporter de le voir à la proue de mon bien le plus cher.

Fernand : Je ne pourrais tolérer de le voir au bras de celle qui hante mes rêves.

Chorus :

All (?) : Quand l'orage va s'abattre

Ferons-nous preuve devant ce qui nous accable,

De force, de faiblesse, sur cette table ?

Une lettre anonyme peut faire perdre la face,

À Edmond Dantès.

Verse 2 :

? : Le courage, devient quand l'innocent est l'homme à abattre,

La poigne de fer. Si l'histoire doit se réécrire nous laisserons le calme

Pour la tempête.

Chorus :

All (?) : Quand l'orage vient s'abattre,

Balayant nos vies comme un chateau de cartes,

Le choix qu'il nous laisse, celui du lâche

Qui fait porter la faute au parfait coupable,

A Edmond Dantès.

Verse 3 :

Villefort : Comment pourrais-je faire condamner l'innocent à l'emprise de ces fers ?

Mais comment pourrais-je supporter de tout céder à la folie de mon père ?

Sa loyauté à l'empereur porte le sceau incandescent de notre perte,

Contraint de faire de ce pauvre Dantès notre bouc émissaire.

Chorus :

All (?) : Quand l'orage vient s'abattre,

Balayant nos vies comme un chateau de cartes,

Le choix qu'il nous laisse, celui du lâche

Qui fait porter la faute au parfait coupable,

A Edmond Dantès.

Le courage, devient quand l'innocent est l'homme à abattre,

La poigne de fer. Si l'histoire doit se réécrire nous laisserons le calme

Pour la tempête.

[nevermorecheesecake]

Oww, look at them plotting

[nevermorecheesecake]

I was patterning the red death costume from the phantom of the opera and realized that the reason the costume looks like a smol bean because I'm a very average sized asian female.

The good news is I don't need that much fabric.

[nevermorecheesecake]

So...... I was looking at the red death costume and saw the costume next to it. I thought the hat looked like a Chinese zombie/ vampire （殭屍）so I joked about it with my parent and we both agree that it was probably cut because we had zero memory of the robe. (Vaguely remember that a bathrobe was put on after music of the night but like it wasn't that Chinese.)

And then I saw the written notes so I found out that was actually mandarin.

Then I had a debate on whether Erik knew how to weave clothes or not because like wearing dragon fabric was considered treason.

And then we bashed the hat because it didn't look correct.

I want to make that coat so bad

[neuxue]

The multi-faceted tragedy of the death of Les Amis

Each Ami’s death is just so painful in a different way. I didn’t realise there were that many ways for a character’s death to hurt. I swear on the Brick I only meant to talk about the Chief, Guide, and Centre. And how their deaths are sad for different reasons, though they all die young. And then it got out of hand.

Because you have Enjolras, who is the personification of the revolutionary spirit, and who judges and condemns himself early on at the barricade. And then dies by firing squad. It’s like he planned this. And yet he dies triumphant and victorious, untouched and beautiful and radiant and basically transcendent. And dead. Not to mention the idea that some hold to, that he embodies something that has no place in the future he seeks to bring. “And it is so that [the future] may come that we must die.” Ow.

And then Combeferre, who died far before his time. I have trouble envisioning Enjolras ever growing old, because he just goes out in this blaze of transcent glory, but Combeferre? That man was meant to have a long, fulfilling life, living not just to see but to guide the future, as the embodiment of the ideal. The fact that he will never get to be the grandfatherly philosopher dispensing sage advice whilst contemplating the swans hurts me. As does the fact that he, the pacifist who begged Enjolras not to shoot an enemy artilleryman, dies amidst violence. It is a sacrifice, of sorts, and it breaks me. As does the fact that he looks to the sky in the moment of his death. Of course he does, the idealist.

Courfeyrac hurts for a different reason, because I don’t feel that he died before his time. He lived with passion and verve and intensity and joy, but I think his flame burned a bit too brightly to sustain itself. It’s not for nothing that he was compared to Tholomyes, after all. He died in his prime, before we ever saw that flame begin to flicker. This really shouldn’t hurt as much as it does.

Jean Prouvaire’s death…I don’t think I really need to explain the unique sort of pain this caused me. Alone. On the wrong side of the barricade. The timid, melancholy poet who proved in his last moments what it truly means to be intrepid. Not to mention his chapter title. Fin des vers de Jean Prouvaire is really all it takes to turn me into a sobbing mess. There is a lot more I want to say about Jehan and his death and the symbolism of it all but for everyone’s sake I’ll leave that for another time. Every word of that scene hurts me. Like when the gunshot sounds, and then silence falls. Because the poet has been silenced. Right, I really will stop, I swear.

Bahorel. Of course he’s the first of the Amis to die. He goes out fighting, killing the first of the guards to take the barricade. He dies very much in his element, and it’s the way you know he would have wanted to go. It’s more a sad sort of ache than actual excruciating pain. Until you remember that he was the first, and all the others see him die, and if reality hasn’t already hit, well, it does now.

Gavroche isn’t actually one of the Amis but the fact that he is actually singing a song as he dies, and dies before he can sing the last word? The fact that Victor Hugo actually wrote that and it wasn’t just in the musical? Plus the fact that he’s this carefree, brave, free child who mocks both Montparnasse and Enjolras without consequence? And he dies risking himself for the others and for a cause that should have ensured him a life and a future and happiness. Plus, you know, he’s a little kid.

Feuilly, Bossuet, and Joly don’t even get proper deaths. Feuilly, the one Enjolras himself praises in front of all the others. Bossuet, the one with no supply of luck and an endless supply of laughter. Joly, who was the happiest of them all. All dead with hardly a moment’s thought. Again, it’s a very specific sort of ow Hugo that hurts.

And Grantaire. Oh, Grantaire. See, many people say that Grantaire’s death is tragic mainly because he could have escaped. But…he was the inverse, the verso, the opposite of Enjolras, and their fates were always going to be linked. The Nisus and Euryalus reference with the flower…Grantaire was always going to die there, whether he was shot with Enjolras or whether he just stopped living. Which is incredibly sad. And then he dies in this moment of revelation, hand in hand with the one he admired, loved, and venerated, who smiles at him in that last moment when he is radiant and transcendent and Grantaire most likely dies happy. And, like all the others, that hurts.

[nevermorecheesecake]

There are like three French Musical productions of CoMC coming out in 2026?

La Légende de Monte-Cristo | Le Musical | Dome de Paris

Découvrez “La Légende de Monte-Cristo”, la comédie musicale événement de 2026. Une adaptation spectaculaire du chef-d’œuvre d’Alexandre Duma

Monte-Cristo, le spectacle musical | Aux Folies Bergère et en tournée

Découvrez "Monte-Cristo", la nouvelle comédie musicale inspirée du chef-d'œuvre d'Alexandre Dumas. Rendez-vous aux Folies Bergère dès le 5 f

Le Comte de Monte-Cristo la comédie musicale

Découvrez l'adaptation musicale du Comte de Monte Cristo en tournée dans toute la France, une comédie musicale inoubliable.

I wonder what's on the cutting board

[milquetoast27]

Subtext in The Creeping Man

I find that this story of Arthur Conan Doyle's Holmes canon features some of the most complex subtext we've had aside from A Study in Scarlet. But rather than being complex early-on because of our lack of knowledge of the characters, it is rather complicated by the fact that we both know too much and too little of their relationship. This story, with astonishing subtlety, conveys the cooperative relationship between Doyle's two characters — the nuance in their limits and strains, but also the joys that they work to reach, together. It emblemises the beauty of the Canon, where it all ties back to the joy and complexity of human understanding and belonging.

This story opens in "those latter days" (1903, near to Holmes's retirement) where Watson describes their relations as "peculiar". The word certainly feels like a euphemism from the ever-polite Dr. Watson, when it is soon made clear that their relations were far from amenable. Watson has become one of Holmes's "concentrated habits", and apparently is as good as a piece of funiture, as all of Holmes's remarks would have been as "appropriately addressed to his bedstead." It's given through snapped sentences; "I was a whetstone for his mind. I stimulated him. He liked to think aloud in my presence." This "irritation" and discordance between them is extremely concentrated in the early pages of this story, but drags through it, as well. Take, for example, the "laconic" (or perhaps iconic?) message:

"COME AT ONCE IF CONVENIENT — IF INCONVENIENT COME ALL THE SAME. S.H."

Watson gives us the original of Holmes's telegram to demonstrate to his readers just how "long-suffering" he is. A true exhaustion is apparent in how he simply shows the telegram, rather than politely referring to it. Compare this with the unendingly civil telegram sent to Watson in The Boscombe Valley Mystery, and you can see the great shift that has taken place in their alliance.

"HAVE YOU A COUPLE OF DAYS TO SPARE? HAVE JUST BEEN WIRED FOR FROM THE WEST OF ENGLAND IN CONNECTION WITH BOSCOMBE VALLEY TRAGEDY. SHALL BE GLAD IF YOU WILL COME WITH ME. AIR AND SCENERY PERFECT. LEAVE PADDINGTON BY THE 11.15."

While long-term and intimate relationships will remove need for over-courtesey, there are two very different reasons for why Doyle has shown both of these telegrams at a point in time. This accumulation of Holmes's ungrateful behaviour not only imparts Watson's utter despondancy, but also, importantly, Holmes’s — and this is something that Watson's ever-perceptive and intelligent heart does not fail to miss. It is important to note that this story nears Holmes's retirement, where he acknowledges that he has been "sluggish in mind". There is no doubt, then, that the great detective is out of his prime. Hence the temperementalness, taking his Watson for granted, and a heavier reliance on those "narrow and concentrated habits."

Despite the turbulent roads of their life, we see Watson's undying devotion co-exist with it. Past all the irritation, Watson closes, "Such was my humble role in our alliance." It is more than clear that he consciously makes the decision to remain at Holmes's side, to be his ally. Such has always been Watson's role in their alliance. His "humble" service extends to his practice as doctor and soldier. His pride is in his duty to others, and to Holmes as his assistant.

There is something that shines through Holmes's unsocial behaviour when we look closely at the text.

I sank back in my chair in some disappointment. Was it for so trivial a question as this that I had been summoned from my work? Holmes glanced across at me. "The same old Watson!" said he. "You never learn that the gravest issues may depend upon the smallest things."

We know from the Canon (opening of DANC and RESI) that Watson's emotions are like an open book to Holmes. This 'sinking in some disappointment' is not missed by Holmes's 'glance'. "The same old Watson!" he says, and I feel it important to note that he compliments one of Watson's most distinguishing features; his stability and fixture — the "one fixed point in a changing age." Yet, we may miss these details, because Holmes, ever in his own insecurity, must back-hand every praise with a teasing chide. We could say that an attempt was made to cheer Watson up, though not very successful.

Developments continue, as Holmes tryingly says "I had hoped to have a longer chat with you", then parades him with compliments before their client, "Dr. Watson is the very soul of discretion". But mixed indications continue to come as he flips back to patronising language; "You will appreciate it, Watson, when"—. Doyle further cements Holmes's particular unbecoming behaviour on this day as he further also annoys their client, who speaks in a "tone of reproach" when Holmes does not listen, and is "clearly annoyed" at irrelevant interruptions — to which, Holmes only smiles in, what I believe, is pure self-importance.

Here we find a shift — a greater effort on Holmes's part, a second round of appreciation for Watson's stability, even when his opinion is faulty. "Good, Watson! You always keep us flat-footed on the ground". He's then included in his bubble; "We were gradually coming to that conclusion, were we not, Watson?", and even a sordid attempt at bringing Watson with him on the bait of the Chequers in 'Camford' where "the port used to be above mediocrity and the linen was above reproach." (Which he follows up on!)

And, despite these attempts, their connection still does not rekindle. Watson is clearly irritated still with the inconsiderate easiness with which Holmes was able to leave London, leaving only difficulty on Watson's end to join him. It's an indicator from Doyle that nothing's remedied, yet.

Here is an interesting passage for study.

"Have you the effrontery necessary to put it through?" "We can but try." "Excellent, Watson! Compound of the Busy Bee and Excelsior. We can but try — the motto of the firm."

Burstive praise from Holmes at the merest utterance of a phrase — a phrase which has only ever been used one other time in the Canon; the previous story, The Problem of Thor Bridge. This suggests it may be some small motto of Holmes's, though one not often seen in Watson's records — this makes his use of the phrase a very Holmesian approach. This participation, no doubt, is nothing but a delight for Holmes, who is trying to restring their relationship, and continues to overenthusiastically affirm Watson's sturdiness.

Yet it's made clear that superficial praises are not a true apology, as we see signs yet again of Watson's dispassion. As they sit to their meeting with Professor Presbury, Watson writes:

Mr. Holmes smiled amiably.

This sentence may seem unassuming, but be assured it is one of the coldest in the Canon. This usage of "Mr. Holmes" is entirely unique within the Canon. In other times, when Watson has used "Mr. Holmes" or "Mr. Sherlock Holmes", it has been when speaking directly to his readers, since they would be using the honourific. This moment is the only exception, where Watson has intentionally used "Mr." to create distance and convey undesire for intimacy with Holmes (rather than any professional effect). Why has Watson used the line here? Well, Holmes is 'smiling amiably' — in a way that forces a friendly manner, one that attempts to create a good impression with Professor Presbury — which also didn't work out, by the way. Considering all the superficial means up to now employed by Holmes on his companion, Watson no doubt feels cheapened and no more important than Holmes's investigative objects; as if his trust is just as easy to gain as anyone else's, with nothing but an 'amiable smile'.

We are shown time and again that Watson isn't pleased with Holmes's desultory attempts at reconciliation, until finally, a shift happens. One that is not identifiable in the text, and so is reasonable to assume happened unpenned. We find Holmes acknowledging that "Dr. Watson has his patients to attend to", when before this information seemed completely irrelevant to him. Holmes even sent Watson a "short note asking [him] to meet at the train"! The greatest change is when we finally have Watson using "my friend" and "my comrade" for the first time in this story. Now we see Watson taking real excitement in the case, in the "assurance of [his] comrade". Self-teasing also makes its way into their dialogue as Holmes cries "Oh, Watson, Watson, what a fool I have been!" The emphasised address seems to suggest an apology for something more. It's as if he cries 'Look how wrong I have been Watson, how imperfect and daft I can be!' It's adorable, really.

All semblances of reproach towards Holmes disappear as they steal together in darkness, come to the dénoument of their adventure, as Holmes philosophises on science and nature, and described admiringly as "the man of action". Our story ends in a light-hearted resolution, as always.

"There is an early train to town, Watson, but I think we shall just have time for a cup of tea at the Chequers before we catch it."

To conclude, this story presents so much so subtly in its pages; a reflection of the small, nuanced and unseen processes between human beings, but those which we must be attentive to in order to find fuller understanding between each other. Yet, there is still much uncertainty in my inferences; which also shows the uncertainty of language and communication. We simply must be clear of ourselves, as we can only assume Holmes and Watson were, off-page, for them to have found that resolution, rather than fleeting smiles and compliments. Arthur Conan Doyle, with this story, further cements the triumph of bonds and connection, perhaps far more than any other of his stories.

[starlene]

The Norwegian production of Les Mis is a pretty wild ride

Maybe you’ve already read that one list about things that happen in this production, but having seen the production for ourselves now, me and @obiskus decided to write our own. Here comes:

- When the curtain rises, the first thing you see is a couple of guards dragging some dead guy away.

- Javert punches Valjean in the gut after “do not forget my name.”

- Foreman is oddly sympathetic towards Fantine. It is only after he sees Mssr. Madeleine coldly walking away from the scene he decides to throw her out.

- Fantine changes into her prostitute costume in the middle of I Dreamed a Dream (even though they still have Lovely Ladies after IDaD).

- Jean “Superman” Valjean lifts a big pile of sawn timber off Fauchelevent like it weighs nothing.

- Javert very gently helps Valjean to put his coat back on and wipes some dust off his top hat.

- Jean Valjean reveals his true identity in the court by taking off his wig. It was me all along!

- Javert brings three soldiers with him to Confrontation. The hospital nuns (wearing KKK-style hood-like white hats) don’t care about the angry men yelling next to the beds and continue wrapping Fantine’s body in a sheet. JVJ takes Javert by the throat, threatens to kill him and somehow escapes.

- Marius follows Cosette around from one poor person to next. They end up wiping the same poor person’s face.

- Montparnasse has the most ragged clothing out of all the Patron-Minette. What’s up with that?

- Javert and Gavroche have a moment! They have moved Gavroche’s little bit about Javert before Stars, he sings it to Javert directly, then they salute each other.

- The poor people of Paris hang around onstage during Stars. Javert buys a candle from one of them and lights it.

- Éponine is there in the ABC Café.

- When Gavroche tells them Lamarque is dead, Grantaire loses all hope instanteniously. He takes out his flask and starts drinking. Enjolras sings one of his following verses directly to Grantaire.

- Marius tries to shake hands with Cosette in the beginning of A Heart Full of Love.

- In the beginning of One Day More, Marius writes the letter to Cosette and Éponine changes into her barricade costume…

- …but you don’t really pay attention to that once Enjolras walks onstage, because he is joined by Grantaire and sings his whole verse to R. Then, I kid you not, Enjolras teaches Grantaire how to shoot a gun - in a way that wouldn’t feel out of place in a fanfic or a romantic comedy. You know, standing very close, taking his hands and correcting the way he holds the gun…

- …and this goes on for the whole duration of the song. Enjolras doesn’t give a hoot about Marius deciding to fight with them; he’s busy staring into Grantaire’s eyes. I kid you not.

- Prouvaire has a pet plant that he takes with him to the barricade. He builds a sort of a little nest for himself and the plant on the barricade.

- Not everything is perfect at the barricade, though: Enjolras and Grantaire have a fight in the beginning of the first act! During On My Own, there’s this odd freeze-frame tableu in the background with lots of characters - there, they stand very close to each other and Enjolras has his hand on Grantaire’s shoulder, clearly trying to make amends.

- They drop Éponine’s body in the sewer.

- Enjolras is pretty Extra about the whole Éponine situation: he sings about her blood blessing the barricade.

- When they catch Javert, they tie him to the front side of the barricade. Valjean doesn’t use a knife when he frees him, he uses a bayonet.

- During Drink With Me, Enjolras and Grantaire sit next to each other and Grantaire holds Gavroche in his arms. R sings his verse to Gavroche, Enjolras reacts a bit, no one else bats an eyelid. Then Enjolras takes Grantaire’s hands, kisses them (and it’s no platonic kiss, let me tell you that) and leaves.

- When they meet in the sewers, Javert straight up decks Valjean.

- When Valjean leaves, Javert finds a huge crucifix, sorta hugs it, sings most of the song to it and drags it around. Then he jumps from the bridge.

- Nuns (in their KKK hats) sing Turning.

- In Empty Chairs at Empty Tables, there are no chairs and no tables. Instead, there are hospital beds. At first, all Les Amis grouch behind them, then they stand up and stare at Marius for the whole song without moving an inch. Then they walk away.

- After Valjean’s confession, Valjean stays downstage for ages, sorta grouching, while Marius walks upstage towards complete darkness, like he is walking to his death or something.

- During the wedding, Cosette recognises the Thénardiers. And is that Javert in the ensemble, dancing there, with his ponytail and his sideburns? We think it is!

- Javert is in the Finale. So are Enjolras and Grantaire. Grantaire rushes downstage to Enjolras to stand right next to him, his hand on Enjolras’s shoulder. I kid you not.

[nevermorecheesecake]

?

[nevermorecheesecake]

Les Mis Valjean number comparison between translations (incomplete)

Pls help me correct or add translations in the comments

English 24601 (two four six o one)

French 24 601 (vignt-quatre six o un)

Croatian 24601 (dva-četiri-šest-nula-jedan)

- 1

- 2

- 3

German

- Austria 64201(?)

- Germany 24601

Spanish

- Spain 1992 24601 (dos cuatro seis cero uno)

- Spain 2010 23623 (dos-tres-seis-tres-dos)

- Mexico 1 23632 (dos-tres-seis-tres-dos)

- Mexico 2 23623 (dos-tres-seis-dos-tres)

- Argentina 24602 (dos cuatro seis cero dos）

- Venezuela

Japanese 24653 (にーよんろくごーさーん)

Hebrew 24 601 (SHTA-im AR-ba shesh me-OT a-KHAT)

Hungarian 24-6-0-1

Icelandic

Norwegian

- Bokmål 25601 (to fem seks null en)

- Nynorsk 24601 (To fire seks null ein)

Polish 24601

Swedish 24601/25601 (två fyra sex noll ett)/(två-fem-sex-noll-ett)

- Sweden

- Finland

Dutch

- Netherlands 24601 (twee-vier-zes-nul-een)

- Belgium

Danish 24601(to fir' seks nul et)*

Finnish 668

Brazilian Portuguese 23612

Estonian

Czech 35602

Mauritian Creole

Basque

Catalan 23623

Korean 24601

Russian 23605 (Два три шесть ноль пять)

[nevermorecheesecake]

Les mis arena spectacular is coming to Taiwan, so I made dolls for the main cast of Valjean(Luke McCall) and Javert (Hayden Tee). Rn I'm in a state of deliria after sewing for two straight days, so I'm sharing this on everywhere but insta.

Now the only thing I need is the courage to give it to the cast, and tag them on Instagram.

[nevermorecheesecake]

Yeeep! *Excited high pitch screaming*

[nevermorecheesecake]

Les mis arena spectacular is coming to Taiwan, so I made dolls for the main cast of Valjean(Luke McCall) and Javert (Hayden Tee). Rn I'm in a state of deliria after sewing for two straight days, so I'm sharing this on everywhere but insta.

Now the only thing I need is the courage to give it to the cast, and tag them on Instagram.

[wild-icarus]

Hello, love your costume references. May I ask are there pictures of JP 1789 Robespierre's vest's and coat's backside? I want to make a cosplay lol.

[peacockwinchester]

Les Mis thoughts:

First can someone draw Enjoltaire US Nat Tour bc I saw them and I think black Enjolras and long, blonde hair Grantaire is peak

Second: CAN WE PLEASE GIVE JAVERT A FIRST NAME (this is purely self indulgent I feel goofy calling him Javert in my fanfic all the time)(bc like I give him a husband so)

[nevermorecheesecake]

Not having a first name is important for Javert's character. I think one movie version called him Emile Javert. You can just invent one since Les mis is public domain.

[wild-icarus]

Robespierre/ロベスピエール (三浦涼介/Miura Ryosuke) 1789 Les Amants de la Bastille Jp Toho 2018 (4/5)

Parts: 1, 2, 3, 5