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A ramble on Dallas Theater Center Les Miserables

So, 5 years late, I jumped back on the bandwagon and finally watched a bootleg of Dallas Theater Center’s 2014 production of Les Miserables.

And wow. I can’t believe I waited 5 damn years to watch it. So here’s a long rambling write up on it based on the live-tweeting I was doing as I watched (and a little bit on me skipping through the bootleg video right now). It’s partly just me summarizing scenes so I can nerd out about the little details I loved and towards the end me talking about the show as a whole and why it was so fucking important.

First of all I wanna say that I'm surprised it took this long for a professional theater company to do a "modern day" Les Mis. I know all the fans fucking love their Modern AUs fics, I've been reading them since like 2012 and I love them. But also I'm SO glad someone finally did it because Les Miserables' themes are universal and they are amazing but they're also really relevant to what's going on today, or 5 years ago (since it's only gotten fucking worse tbh).

My first big impression was how great the costuming was. You can tell the socioeconomic class of the characters just from what they’re wearing, from how they posture and interact with others. Which is easy when it’s period costuming, you just make everyone look dirty and ripped up vs not dirty, but this (aside from the Thenardiers) is a little more subtle.

Also re: the costuming, I absolutely LOVE that they modernized Javert’s costume into a cop’s uniform but managed to retain the classic Javert Silhouette by giving him that trenchcoat, so we still get the expected Inspector Javert Silhouette despite the fact that he’s a modern day cop. Also all of the other cops/soldiers being straight up SWAT was an excellent decision, not only because it shows the sheer violence of a police that isn’t supposed to necessarily be SWAT, but also because the helmets completely cover their heads, so when the soldiers sing lines, they don’t even sound human. Yet another layer.

Nehal Joshi as Valjean was great. Honestly the moment I keep thinking about is actually from the very beginning, just after Valjean is released. Joshi looks so happy, delighted, like his heart is light again. He smiles as he sings “ Drink from the pool / How clean the taste” while looking up into the sky like he’s amazed at being in the open air. Then suddenly his posture changes completely, becomes guarded and hard, his expression gets closed off, and he sings “Never forget the years, the waste” before thumbing at his nose in that tough way and grabbing his bag off the ground. It was an emphasis on a pair of lines that I’ve never seen properly emphasized before. Usually the emphasis is on the next lines, when Valjean is saying “Now let’s see / what this new world has in store for me”. But here they emphasize that despite being free, he has traumas he has to deal with, and experiences that mean he’s wary of the world. It makes his theft of the silver make a lot more sense; it’s not just opportunistic, it’s also that he straight up doesn’t trust anybody.

(Another note on costumes: Valjean’s post-prison costume is his orange jumpsuit with this weird ratty, torn up sweater thing over it. I do very much wish they’d given him a hoodie that was equally as ratty instead of a sweater because I feel like that would’ve been another interesting layer of commentary.)

Two notes I made specifically about this production’s Soliloquy: This production had Valjean rip his prison papers accidentally, while he’s in the middle of an emotional gesture, then he stares at the rip in disbelief, and comes to the realization that he could just rip it up, and so he does. I thought that was a very cool mechanic. The audience literally watches him get the idea of changing who he is. Also, when he sings “I am reaching, but I fall / And the night is closing in” he actually wraps the rope of his bag around his own neck, like he’s considering death, like he doesn’t know what to do with himself. I thought it was really interesting considering those are the lines that directly mirror/parallel Javert’s Suicide.

This production also has all the Bad People roles played by white people, which is just fantastic. The foreman, Javert, all the cops, etc etc. I thought it was an excellent decision, since all of the main characters (minus the revolutionaries) are POC.

Fantine was amazing, has an incredible voice, and her I Dreamed A Dream sounded genuinely miserable, almost frantic with the fact that not only is she a single mother struggling to pay for her child who’s living with some other family, she now has nowhere to turn for money at all, and she’s completely alone. I think she’s my favorite Fantine of any of the ones I saw.

And Lovely Ladies absolutely blew me away. This was the first Lovely Ladies I’ve ever seen that felt Real. Not just that there was sex going on (because there was, there’s people fucking and getting blowjobs etc in the background the entire time), but it doesn’t feel like something silly or shallow. The entire thing feels desperate and exploitative and miserable and painful. Most of the other characters are dressed in provocative, revealing clothes. But there are a few in just jeans and t-shirts, looking desperate and kind of bedraggled. And then you have Fantine, who is literally just in a slip and long socks, looking out of place and terrified.

The usual Lovely Ladies shenanigans do ensue, but there’s a tinge of horribleness to it that is sharper than in the traditional show. In the traditional show, the moment where the music suddenly slows, and all the women sing “Lovely ladies / Going for a song / Got a lot of callers / But they never stay for long”, it usually feels like kind of a weird and unprompted moment of introspection after so much ruckus, but in this version the reason everyone slows down is because the pimp plucks their cash out of each of their hands one by one. And then the horribleness is increased tenfold because all of the women are in a line with men behind them simulating sex, and Fantine is in the center, bent double, the Captain behind her, staring down the audience. With each thrust she grits her words out like she’s in pain in every way imaginable. And the Captain ‘finishes’ just as she hits the line “dead!” Which is just. A lot. But so good. It packs so much more of a punch than Fantine leading the Captain offstage, or to one side of the stage.

The way that Confrontation was staged was also so cool to me. In the shows I’ve seen the first part of Confrontation is Javert and Valjean facing off with Javert stage left and Valjean kind of up beside Fantine’s bed, but they’re on the same “level,” in that Valjean walks a few paces forward a few lines later and they grapple. In this version, they stood quite literally on either side of Fantine’s hospital bed, so that they’re arguing across her dead body.

Madame Thenardier made me think of a bizarre cross between Miss Hannigan, the mom from Matilda, and Patsy Stone from Absolutely Fabulous. She did a great job. M Thenardier is a douchey hipster pirate type guy with white guy dreads. Also they made him an ex-con as well, but he displays the numbers tattooed on his chest with pride compared to Valjean who hides them, which was yet another interesting decision.

This version of Les Mis has taught me that “My mom doesn’t let me drink” is the absolute BEST piece of spoken dialogue you could throw in before Master Of The House kicks the fuck off.

Also this version has Eponine participating in the scams during Master Of The House: she takes peoples’ orders, carries plates, dances, etc. She’s cleaner and more pampered than Cosette, but she’s still being used.

Look Down was really interesting to me. Now, I think what I’m about to say is partly informed by costuming. That is, I think with period costuming an audience has a harder time distinguishing more subtle roles between (non-main) characters. What I mean is, in traditional Look Down, it just seems like three characters having an argument with each other, but with a modernized version the costuming makes it clear that it’s an old beggar woman, a prostitute, and her pimp. While that’s obvious from the actual dialogue, the period costuming makes it a little harder to glean the separate character types other than “beggar type”. Anyway, the roles being clearer via costuming makes all the interactions seem a lot more Real. It’s not just people all dressed alike singing lines at each other, it’s actual separate people having actual conflicts.

Also, I really really liked Mark Hancock as Gavroche. He’s older, or at least bigger, than most kids who end up playing Gavroche, and he’s not the most beautiful singer, but I think that works all the better for a production like this one. He’s not a cutesy Oliver Twist-type character. He’s a kid living rough on the streets, and he’s got a sense of humor but he is a badass.

This version also had a LOT more flirtatious behavior between Marius and Cosette. Like it’s not just one glance on the street. During The Robbery, Marius and Cosette are giving little glances and flirty waves the whole time, all shy and cute, little hand signals like “I want to talk to you oh my god” etc. Also this Cosette has glasses! She’s so cute!

Stars as a song feels very weird when it’s a Modern Day Cop singing about such a philosophical topic, and at first I was kinda ??? about it. Because you know, in a period piece, you kind of expect more elaborate language, you expect certain types of morality, etc. It sounds weird coming out of someone dressed like a pig you’d see on the street in real life. But then at the end of the song Javert takes a rosary out of his breast pocket to sing “Lord let me find him...” etc, and suddenly it actually made a lot of sense. It finally connected the religious references and morality displayed in the lyrics. Because a lot of shitty cops in real life are masquerading as Christians, so again, a good decision.

Ah, the ABC Cafe. Always lovely to hear those horns. John Campione was AMAZING as Enjolras. At first I was a little disappointed they made him a white guy, but then I thought about it and it actually makes a lot of sense. Despite his passion about justice etc, Brick Enjolras is a wealthy student; what better way to show his privilege in a modern setting than to have him be white? Anyway, I think Campione did a great job of portraying a leader who is so passionate, and so dedicated, and so intent on his cause but also kind of stressed out as the day draws nearer. (More on that later.)

Similarly, this Grantaire is a little shit. He does this hilarious like “call on me!” hand raise before “I am agog, I am aghast” which I thought was quite funny and cute. Also after “It’s better than an opera,” the Amis all laugh and clap, and Enjolras does this extremely sarcastic slow clapping before admonishing Marius with “It is time for us all to decide who we are” etc. Also Grantaire and Enjolras are actually standing beside each other for Marius lines, so that when he says “struck to the bone in a moment of breathless delight,” Grantaire looks directly at Enjolras and stays staring at him, so that when he moves downstage to stand across from Marius and sing “Red!” and “Black!” at him, it feels more like solidarity than mocking.

But then Enjolras pulls Marius further downstage for his “Marius you are no longer a child” etc lines. His body language is great here. When he sings “Who cares about your lonely soul,” he doesn’t just look like some charismatic leader man. He looks like someone who’s stressed out and a little annoyed/exasperated that this person is causing a distraction right when things are started to get important. He runs his hands through his hair, his gestures are clipped and fast, like he’s got too much energy and isn’t quite sure where to put it. It’s so good. He sings “Our little lives don’t count at all.” And then there’s a long, long moment of silence. A long one, where Marius looks around at his friends and realization that what they’re undertaking is much bigger than his emotional outburst, that Enjolras is right and he has to be with them instead of off in the clouds. And he raises his hand tentatively and then more surely towards Enjolras and sings that next “Red! The blood of angry men!” all on his own before the rest of the Amis join in. GREAT decisions there. SO COOL. (Also this is the moment when an Amis Hand Sign is established, which is important later on.)

This show uses silence in a way that I’ve never really seen another version do it. After Gavroche yells “General Lamarque is dead!” there’s usually a beat of silence before Enjolras begins to sing. In this version there is a long, long moment of silence when everyone looks around at each other, a moment where Joly tosses his pamphlet angrily onto the table and sits down with his head in his hands, a moment where Marius and Grantaire are the only two who turn away and face upstage at the news, a moment where they all process that this is fucking Real, and everything that they’ve been planning is suddenly Actually Happening. And then Enjolras begins, and his voice is so soft, and so sad, and it’s like he’s delivering a eulogy, but it’s only when he gets to “Is the sign we await!” and we get those trumpets that it changes into Enjolras The Leader, and it’s go time, and everything is Intense. Campione is fantastic as Enjolras because I think often people play Enjolras as this solid, charismatic leader who is stoney-faced and sure of himself etc. Which works for the period style (and is fairly Brick-accurate), but I think would seem a little odd in a modern day setting. This Enjolras is in it, he’s into it, he’s fucking intense and ablaze with energy. He sings Do You Hear The People Sing like he’s giving a speech, like he’s trying to convince (And “the real glory is to convince” so y’know).

And Do You Hear The People Sing as a campaigning song is brilliant. It starts out not with march, but with handing out fliers made of red paper, passing them out and getting out the word. Only then do they pull out signs and put on red caps and start marching.

In My Life/A Heart Full Of Love was so fucking hilariously cute. Marius and Cosette are both excellent levels of awkward, and there’s a lot of nonverbal flirting going on, and I just thought it was really well done.

I was told while I was live-tweeting that during One Day More the sort of dancing march they do (because it’s like a dance, instead of the in-place marching of the traditional version) is actually the Toyi-Toyi, a South African dance that was used as a form of protest during Apartheid and during other times as well. So that was a very cool addition. I’m sure there are other callbacks in this show to other protests or protest traditions like that that I didn’t even catch. The dance also reminded me of the body percussion used in A Quoi Tu Danses from 1789: Les Amants De La Bastille, so that was cool as well. We also get face paint and signs and red berets and button pins and a lot of stuff that has been seen in a lot of modern protests/movements lately.

Side note: Javert’s disguise is amazing because he retains his cop boots and trousers and crisp white shirt; he just puts a brown jacket and a red scarf over it and wears a red beret.

OKay SO. This is possibly the BEST On My Own I’ve ever seen. Now, I’m highly partial to Briana Carlson-Goodman as Eponine because the emotion in her voice is just mind-blowing. But this On My Own was so amazing. First of all, I’m amazed I’ve never seen any other production do this: when Eponine sings “pretending he’s beside me”, she puts out her hand like she’s holding some imaginary lover’s hand, like she’s genuinely imagining him walking with her, and it made her self-deception that much sadder. And this version was so good, I think because it was this perfect combination of angry and disappointed and yearning and self-deceiving. You can tell this Eponine KNOWS she’s deluding herself that Marius will ever love her, that she’s hugely disappointed and almost angry at that fact, but she still loves him and wants him and wants that love, and it just makes that self-deception all the stronger.

This version of Les Mis brings the barricade in as a flown set piece, which I think is an interesting decision. I definitely prefer the US Tour version, where the downstage scrim is backlit/lifted and both the audience and Eponine are suddenly confronted with the fully-built barricade. However, the barricade being flown in does give the Barricade Boys a moment to stand and admire their handiwork, so that’s kind of also cool.

(Somewhat unrelated, but throughout the show this Grantaire is a lot more still than other actors’ versions of R, but also more still than the other Amis in this show, so it’s clearly a choice. Other version of R are slumped over a table or slumped on the ground a lot, or they’re wobbly, or just generally restless and upset. This R is so still and just standing unmoved and blank it’s definitely a choice. Very much taking the “he seemed to be waiting there for a bullet which should spare him the trouble of waking” quote from the Brick and translating it to the stage version, in that he does move to shoot his gun but aside from that he’s so stock still it’s like he’s given up. Anyway. Back to the actual show instead of me just waxing lyrical about my favorite character.

When Eponine climbs over the barricade, Marius waves down all the guns just as Joly yells “There’s a boy climbing the barricade!” This kind of happens in other versions, but it seems like most of the traditional Les Mis versions all the Barricade Boys just kind of accept someone’s climbing the barricade and let Eponine over? In this one Marius like actually is waving down their guns, blatantly being like “don’t shoot, I know this person.”

And when Eponine is revealed to be shot, they don’t just let her die in Marius’ arms. The first half of A Little Fall Of Rain is sung with Eponine in Marius’ arms, but there’s also Feuilly there as a medic, pressing handkerchiefs to her wound, his hand on her with Marius’ hand on top of his and Eponine’s on top of them both. When Marius is saying “and you will live ‘Ponine,” medic/Feuilly shakes his head at him as if to say, ‘don’t tell her that, she’s not going to make it, I’m so sorry,’ but he still has his hand on her wound. It’s only when she sings “Just hold me now, and let it be” that Eponine pushes the medic/Feuilly away so she can die just with Marius. I really, really, really loved that because it seems so Right. Like, they’re fighting for a better world, they’re not just going to let an injured person die, they’re going to try their best to help her even if she’s dying and there’s nothing they can do. And I really liked that there was a medic there, but he was faced upstage, away from the audience, as if he was trying to help but also not intrude on this private moment. But when Eponine does push him away, he goes fairly easily, like he’s realized that she’s realized that she’s going to die. Also, instead of carrying Eponine offstage like a ragdoll, Grantaire and Feuilly bring over a stretcher and she’s carried off in it by Marius and Feuilly while Grantaire collects the handkerchiefs that were bloodied by her wound.

Valjean’s soldier disguise is the SWAT gear, even the helmet, although he mostly carries it in his hand rather than wearing it. It’s interesting because the difference between the SWAT gear and the suits he wears as Fauchelevent are a hugely stark difference, whereas the difference between his nice period clothes and the soldier’s period uniform isn’t quite so intense.

I noticed that during Drink With Me, Joly put his hand on Grantaire’s shoulder during “Let the wine of friendship never run dry,” which is sweet. I also noticed that aside from the moments where he was shooting his gun and the few moments he was being helpful re: Eponine’s death, Grantaire spends most of his time very very still, staring down at the floor with his shoulders slumped. He judges moments with just a shake of the head and turning away while others watch. His part in Drink With Me is sung with a bitterness that is more final than it is angry, like he can’t understand why they’ve all chosen to sacrifice themselves like this and he hates it and he’s bitter that all his friends are going to die but he’s realized there’s nothing he can do about it.

Bring Him Home is SUCH a hard song to sing and it’s actually really interesting in this version, I think. Because in traditional shows I think Valjean is played as a fairly calm person who is just always calm. Joshi plays his Valjean like he has taught himself to be calm, but inside he’s still kind of angry and traumatized and still has those instincts and still doesn’t quite know whether to believe in god or not, or something like that. So Bring Him Home is a moment where it seems like at first he’s just hoping, and then by the end of the song he’s genuinely imploring god to save Marius. Like it’s the first time he’s ever really begged a higher power to do something instead of just acting of his own power to make the good happen. I have no idea if I’m articulating myself well.

Again, Campione is a FANTASTIC Enjolras who plays him like a stressed out passionate leader who is constantly stuck between This Is Finally Real Hooray and Holy Shit This Is Too Fucking Real Oh God. In The Second Attack he portrays it really well, looking around at all the people he suddenly feels responsible for, body language like he’s trying to make too many split-second decisions. It’s just really good.

Death Of Gavroche is also great because even though this Gavroche is not the best singer, he gets shot once and keeps reaching for the bullets, and only stops when they riddle him with bullets. Also, I didn’t realize this until skipping around in the video to write this, but I think they kind of tried to retain some of the Gavroche-Grantaire relationship that the US Tour established? Grantaire goes from being kinda listless stage left to bolting over to the barricade once Gavroche starts climbing, reaching for him desperately; he gets shot in the leg and goes down and spends the rest of Gavroche’s lines up to his death with his head in his hands. Once Gavroche dies, Enjolras actually checks on Grantaire and wraps a tourniquet around his leg while Feuilly and Marius tend to Gavroche’s body.

Marius gets a thigh injury during The Final Battle (we know this because this production shows Actual Blood! Gavroche is actually bleeding! Eponine, too! And Marius! And Enjolras! Like there’s actual red and it makes it so much more intense! Anyway, Marius gets a bullet to the thigh, which frankly I think makes a lot more sense than the shoulder injury he gets in canon at least in terms of him being unconscious for so long (although I guess in canon he also has at least one head injury so meh). Anyway, Valjean sees it and immediately tourniquets him as one by one all the revolutionaries are picked off by bullets.

This Enjolras death is my favorite I’ve ever seen. We don’t get a permets-tu scene, but that’s okay because this is fantastic in another way. Enjolras doesn’t die on the barricade.

Enjolras is standing center stage, the bodies of his friends around him. He’s shot once, in the stomach, and goes down on all fours. As he’s on the floor, SWAT cops surround him, pointing machine guns straight at him. Enjolras struggles up, standing, and faces the cops and the audience. He raises his hand in a defiant fist to the air and is shot in the head.

Then there is a long, long stretch of silence. Quite literally an entire minute (I just counted) of silence, where there is no music, no speaking, nothing. Just the sounds of SWAT walking around, checking the bodies on the floor, and the indistinct sound of walky-talky chatter. Only after a whole minute of silence has passed and the SWAT leave the stage do the little plucked notes and the clarinet playing the Bring Him Home instrumental begin as Valjean stands up.

Valjean actually goes over and checks Enjolras’ pulse to see if he could possibly be alive, which I think hurts A Lot. And then there’s a moment where he looks around at all the bodies on the floor and kind of doubles over in shock, but only for a moment, and then he’s bolting back over to Marius to make sure he’s still breathing and then heaving him up into his arms.

(By the way, the bodies of the revolutionaries remain onstage through all of the proceeding songs.)

Dog Eat Dog is a boring, crap song in every production, and this one is no exception. The guy playing Thenardier is quite good but there’s really no way to redeem how boring a song Dog Eat Dog is. Also, this version cuts out the long instrumental part of Valjean walking with Marius through the sewer due to the fact that they don’t have that crazy projection thing. Instead it’s just a few seconds of him dragging Marius before encountering Thenardier and then also a few seconds before encountering Javert. Also, Valjean straight up puts his chest against Javert’s gun while he’s asking to save Marius’ life. Brave as fuck.

Okay this Javert’s Suicide was mostly really really good. Edward Watts gives Javert this sort of frantic emotion that Valjean spared him on the barricade and then is only asking to save this stranger. He looks genuinely freaked out and distressed. It’s not just confusion, it’s like actual Freaking Out. The only part I didn’t like was the actual throwing himself off the bridge part, but honestly I feel like there really is no way to do that part in a way that isn’t a little ridiculous-seeming. It’s hard to have a show where they never had any sort of fly rigs or any special types of practical effects at all and then suddenly there’s a guy flying through the air? and take that seriously. I dunno. But in any case, the rest of it is really good because the frantic confusion and questioning and anger and sadness and everything is so well done. Also, he takes his cross out of his pocket and drops it on the ground before he jumps, like he believes even god has failed him.

And then the lights return and the bodies of the revolutionaries are still onstage, with police tape cordoning them off. Turning begins with women in black mourning clothes coming onstage: at first they stand behind the tape with candles and flowers and teddy bears, then someone breaks the tape and they move to sit beside the bodies and set flowers down beside them. As Turning is going on, as the women move to sit beside the bodies, Marius also enters and sits in a chair upstage.

So Empty Chairs At Empty Tables happens with the bodies of the revolutionaries lying on the floor right in front of Marius, and women in black kneeling beside the bodies, facing upstage. But as Marius sings “Phantom faces at the window, phantom shadows on the floor,” the revolutionaries rise and move downstage, looking at him. They all make their little group hand sign before exiting, until it’s just Enjolras looking at him, then he makes the sign as well and exits and Marius is left alone with the mourning women in front of him and his hand raised in farewell. It’s just SO GOOD because I think it makes it all the more real. It feels like he’s actually singing to the bodies of his friends as well as their memories, like he’s full of survivor’s guilt and he’s watching them walk away from him and doesn’t know what to do. Combining the Turning Women’s mourning with Marius’ mourning is really cool, because it shows it’s really not just Marius that’s affected by this, and essentially he’s singing Empty Chairs for himself as well as the women in mourning kneeling on the stage before him.

Side note: Dorcas Leung, who plays Cosette, is a True Fucking Soprano. Her voice is SO high. It’s wild. Like, really wild. Like, glass-breaking high but in a good way. Also she’s really cute.

Anyway, the next thing I took note of was Valjean telling Marius why he was leaving without telling Cosette goodbye. He sings “Promise me, Monsieur, Cosette will never know” and puts his hand out in a way that’s partially imploring, and partially asking for a handshake on the promise. Marius says “For the sake of Cosette, it must be so,” but pointedly does not shake his hand. He’s going to honor the promise but he’s not gonna fucking like it.

Wedding Chorale/Beggars At The Feast is mostly unremarkable except that Mme Thenardier is dressed like Cruella de Ville. Oh, and Thenardier gets a kick in the balls instead of a punch to the face from Marius. Also the actor who played Combeferre and the actor who played Bossuet are dancing together so during Beggars At The Feast when Thenardier sings “This one’s a queer, but what can you do?”, the Combeferre actor does a little wave.

I’ve always hated in the musical that Valjean goes from being perfectly healthy to straight up dying in a matter of minutes but I also understand that montages of like a year are hard to do in musical format, so I forgive it but it’s still annoying.

Anyway, this Epilogue is FUCKING FANTASTIC. Valjean does this beautiful laugh of relief and amazement when Fantine tells him “And you will be with god” like he’s still amazed after all these years that he’s a Good Person Who Deserves Heaven.

Also, Fantine sits down on the bench beside Valjean, and then when Marius and Cosette enters, Cosette runs and sits down between Valjean and Fantine, facing Valjean, and there’s a moment where Fantine smiles in disbelief and strokes Cosette’s hair like “oh my god this is my daughter!”

Finally, the fucking kicker for me: “Take my hand, I’ll lead you to salvation / Take my love, for love is everlasting.” That’s always the moment in the show when I start actually crying and this one made it even sadder: Eponine is not the only one to enter in that moment. Eponine enters singing the duet with Fantine like usual, but Enjolras and Gavroche also enter, standing behind her, not singing.

This was such a great, fascinating, unique decision, and I fucking loved it. Because with that group, you have all the types of love and belief that are Important in the Brick: Fantine, the love of a mother. Valjean, the love of a father and the faith and belief that comes from someone else suddenly believing in you and the goodness that is a result of that. Marius and Cosette, romantic love, but also love of children and chosen family. Eponine, unrequited love and sacrifice. Gavroche, not necessarily love but an innocent death, a death from the goodness that comes from wanting to help. And Enjolras, the love of the people, the belief in the people, love of patria and the belief in justice. Just all of these important symbols standing together.

Then Do You Hear The People Sing reprise starts up, and the rest of the cast enter and stand at the edges of the stage around the group at center before everyone scatters out and spreads across the stage.

So basically that was an incredible fucking show. Like, okay. Since joining the Les Mis fandom in late 2011-ish or something I've read A LOT of Les Mis fanfics, I've read the entire book, seen the show live half a dozen times plus a ton of filmed boots and movie adaptations and last year's BBC miniseries. I've got a Les Mis tattoo and I'm vaguely thinking of getting another one. I've read fanfic taking place in canon era, modern day, Mai 1968, the 90s, the 40s, and on and on. All of them are important because all of them interpret the themes differently. Basically what I'm saying is I've consumed A Lot of Les Miserables.

But this version of Les Mis is So Important. Like, it's important enough I'm really surprised they didn't give in to the call for a DVD recording back in 2014.

Because the difference between like, the traditional version of the show, and reading a modern day AU fanfiction, and this Dallas show is that this Dallas show is In Front Of You. It's important because you're used to seeing this show with 19th century clothes and 19th century mannerisms so you don't necessarily connect it to today, or you do on a surface level only.

And in fanfics you can imagine it, but it's not the same.

But this show takes the music we all know and the characters we all know and places it in front of us NOW. We get Valjean in an orange jumpsuit, posturing like we've seen people posture in real life. We get Enjolras in a denim vest and button pins. We get Fantine, a woman of color, being fired for having a child out of wedlock and being accused of prostitution, and having to actually turn to prostitution. And we get a depiction that shows so viscerally how horrible that is. We get white people as cops (SWAT, no less) while POC are abused.

Suddenly this is a show that connects on every level.

And not only that but the visuals of the actual rebellion can be connected to so many movements and protests and things that have happened in recent years. Like with the Toyi-Toyi. And all the signs and pins and face paint and weapons and clothes and even to some extent the barricade.

And the cops going from soldiers with bayonets (which, to be fair, back in the day were pretty daunting weapons with their triangular blades, but we don't see them that way) to SWAT with helmets that black out their faces and semi-automatics is a a hard-hitting message.

And I've always thought it was funny that people who see the show casually think it's about Marius & Cosette's romance. Because that’s not all it’s about, of course. But this version made me really, really realize how little that romance matters in the musical. How much the musical is about Valjean, and then in tandem about the rebellion. Because place the whole "I've known you a day and I'm in love" thing in a modern setting and you realize how ridiculous it is, and how much more important Valjean's growth is, and how much more important the movement and the rebellion is. I mean the entire book is just about the Power Of Love And Belief In All Its Forms etc etc. But I think this version pointed out better than any other how many other forms of love exist in this story, besides the romance of Marius and Cosette.

But truly I think the most important thing that this show did is what I mentioned earlier: it placed the story, its themes, its characters, its rebellion, it's Love and Belief, in the Here And Now, and made it really, truly connect with its audience and the present world. This is a show that people always say is so relevant, so important, and it is. It really is. But sometimes, for a casual viewer, it’s hard to see past the period costumes and sets. And then you transplant the show into modern dress and modern sets and suddenly it’s a story that is just as believable and hard-hitting and important now as it was then. Suddenly you can connect with these characters and you can see these things happening in real life, in present day, and you can believe that it would happen.

It just blows my mind that we have all these Modern AU fanfiction pieces, that we have multiple groups of people doing Modern Les Mis Youtube interpretations, that there’s a Spanish musical out there that’s purely about Grantaire (which, god I wish there was more info on!), that there’s a ton of music and TV adaptations and yet this is the first time I’ve seen a professional company do any sort of modern interpretation of the show. And it works SO incredibly well and is SO hard-hitting and just took my breath away.

Uh so yeah such massive praise to the Dallas Theater Center for having the courage and imagination and awesomeness to finally do a modern version of this story because they knocked it out of the damn park and made an already important story even more important.

#les miserables #les mis #dallas les mis #dallas les miserables #dallas theater center #dallas theater center les miserables #les mis dallas #les miserables meta #les mis meta

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system-architect · 6 years

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50 Q for Vax... please, I need it

OH BOY vax... i’ve been rping him a lot lately but he still remains a bit of an enigma!! lets see..

Personal

1) Age? 23! he acts older than his age i think

2) Gender? like all my other ocs bc i’m very self indulgent, he is a trans guy!

3) Romantic/Sexual Orientation? vax can think boys are cute, but he’s never been a very romantically active person. he doesn’t lack a capacity for affection, he’s just always... busy with other stuff? it’s not something he thinks about often. if he’s buzzy around someone it’s probably bc he adores their cybernetics/etc work

4) Height? probably smth like 3′9″

5) Race? asura (+ cyborg??)

6) What do they look like? (i.e, hair color, eye color, etc). i’m gonna link The Vax Draw, i’m undecided about whether his hair is naturally full black or if the white stripes are weird pigment loss... PS he has a ton of moles all over, not just on his face :D

7) Any disabilities? hokay this is a Vax Secret but he has some sort of muscular and/or skeletal disorder i need to research into/get specifics on but the general idea is that he can get very weak and achey and have trouble moving sometimes! he deals with this via another Vax Secret i might talk about sometime

8) Is there a meaning to their name? in asuran ?? idk i dont think their names have meanings, but irl its a shortened asurafied version of ‘vaccine’ bc i thought it sounded cool

9) What makes them, them? Odd Question but he’s very shaped by his childhood experiences studying his father’s work and looking up to his dad and he’s very defined by his innate drive to bulldoze towards goals he has and wants to research... he’s a very stubborn and determined person who’s very much an agent For Himself

10) What do they want to be when they grow up/what do they want to do with their lives? he is Growed Up but he really wants to keep chasing revolutions in prosthetics/augments/cybernetics.. he wants to help people in ways they couldn’t otherwise be helped (atypical inquest huh)

Family

11) Do they have parents? What are they like and how do they act with their child(ren)? yes one parent, a single dad! ppl who’ve been watchin my hell rp server stuff will know his name is akka and he’s one of the top prosthetics smiths in the industry and was very private about his work but had a very cutting edge philosophy towards artificial parts and lead some really revolutionary work... dr. akka is a very kind and patient man with a good soul who is a tad weary from the world but he loved his son very much! he and vax had a great bond and vax was always eager to learn about his dad’s life work and his dad was always eager to teach him.. akka is an overall pretty amazing man, it’s a shame he joined the inquest for some reason and now we don’t know his current whereabouts......

12) Do they have siblings? How do they interact with them? If not, do they wish they had siblings? he technically has a sibling! maybe more? but he’s never met them... vax is perfectly pleased with being an only child, we’ll have to see how he reacts if he ever meets this one. it’s actually a character y’all are already familiar with.......

13) Extended family? Do they see them often? nope and nope

14) Do they like where they live? (Is it a safe place?) vax essentially lives out of his workshop within the sigma-5 prime division laboratory space which is Not a safe place no....... but he loves it... he technically has an apartment somewhere in soren draa that is as much of a junk pile as his workshop whoops (vax is very much a ‘i know where everything is in this chaos. don’t move it’ person...)

15) Where do they live? Are they wealthy? Poor? Middle-Class? i semi-answered this above but he has enough funding via the inquest to do his research projects as well as have a place for himself! i wouldn’t call him upper class probably just kinda middle ish, he keeps himself afloat alright

16) Do they have a lot of expectations/pressure on them from family to do great? despite vax’s attachment to akka’s work and vice versa, akka is a very chill guy who never expected vax to live up to it or anything like that.. he just thought it was great vax had the interest in it

17) Do they have pets? alas, no.... if he did i could see him owning smth more atypical like a ferret and fuck i kinda like that idea now i’ll have to meditate on it

18) Who do they look up to the most/are the closest to in their family? take one guess

19) This there anything special about their family? his dad being a renowned prosthetics doctors is pretty special yeah

20) Do they wish they lived in a different family/household? absolutely not

Friends

21) Best Friend(s)? alas vax is... very very much a lone wolf! this section is gonna be hard to answer and i’m probably gonna have to cross out some stuff because vax purposefully doesn’t really get close to anyone and he’s exceedingly unperturbed about this.. i meant it when i said he’s very self-driven! he’s not ultra egotistic and he doesn’t hate other people, nor is he unempathetic (i’d say he has a good degree of empathy actually), he’s just kind of... uninterested? he won’t hate you or be nasty to you for no reason, he’s just not interested in befriending/being around you as an aspect of his life

22) Who was their first friend? probably some of the other progeny tried to befriend him in precollege he he was Smart which is Cool but they quickly learned that vax’s idea of friendship is he will give you a quick synopsis of what he’s currently on and then go silent as he continues to work on it

23) What is their friend group like? there are a lot of inquest underlings who try to suck up to him because he’s their boss and also a shining star virtuoso with his work................. vax remains oblivious and unpeturbed

24) Do they have a love/hate relationship with any of them? yes. specifically plex. who is his best tech ops drone but plex is a... sort of pushy person wrt trying to Befriend vax and he has a very obvious crush on vax and vax is mostly oblivious to it but sometimes feels weird about plex’s sudden ‘random’ bursts of being super buddy-buddy with him. in plex’s defense a bit, plex doesn’t know how to interact with people either

25) Do they consider any of their friends to be like siblings?

26) Have they ever hurt a friend or lost one? he’s probably unintentionally driven off people by coming across as super cold... i think he feels bad if he accidentally upsets people with his demeanor but he’s not quite sure what to do about it bc he doesn’t really want to upset people but he also doesn’t want to force himself to be MegaFriendly anyway esp considering his trials with social interaction are kind of a hardwired brain thing (he’s got like... vague assorted ADHD-autistic spectrum traits)

27) Do they have a crush on any of their friends?

28) Do they share classes with good friends?

29) Whom do they go to the most when they need a shoulder to cry on? vax internalizes all his problems and works through them privately khgjdf he’s a weird mixture of stable and mature but sometimes unhealthy

30) What would this person do without their friends in their lives? [img of vax doing vague shrugging motions here] as aloof as he is he probably at the very least appreciates that other people have interest in his work! so would be a bit sad if he didn’t have that

School

31) What grade are they in? If they aren’t in school, how come? he has graduated college! he was top of the class his year at dynamics

32) Do/Did they like their teachers? Was there a good one? Bad one? i’m sure he’s had a Variety of teachers but most of his teachers probably liked him a good bit since he’s smart and yknow, Asura Be Like That... i’m sure he’s conversely had a few who butted heads with him over his philosophy on cybernetics because he has a much more open ended approach that’s a bit focused on the idea that prosthetics are body parts and people with prosthetics are Whole People not People With Additional Bits Slapped On/In and he’s very ginger with prosthetics/augments he handles and treats them like they’re the same as fleshy body parts and deserve the same delicate care despite being metal, and overall he has more of a focus on the actual people he’s working with i think, and i can see some more hardass/uptight teachers in particular not liking this because it’s kinda unasuran to more traditionalist types to have such a.. humane view on work rather than being enthused solely with your numbers and research results

33) Do/Did they listen to their teachers or are/where they goofing off a lot? vax is very headstrong and if you have useful advice then its useful advice but if you dont then fuck off and let him do his work how he’s determined to do it... he doesn’t goof off but he has no respect for authority if authority gives bad commentary

34) Are/Where they a good student grade wise? top marks except for in classes where he was abrasive with the teachers who’s work ethics clashed with his but what can you do

35) Do/Did they need extra help? nope... he probably ended up tutoring a few people actually (which probably was due to a nudge from a teacher and not.. vax’s sole volition of wanting to tutor people)

36) What is/was their school like?

37) Do/Did they have bullies in school? i’m sure he Didn’t Get Along With some others bc he’s Weird

38) Have they ever gotten into a fight at school? yes he’s absolutely metaphorically gone for someone’s throat because they had the audacity to challenge him on something that they were both wrong about and not as passionate about as him

39) Have they ever done something stupid/embarrassing at school? i’m sure he has but i can’t rlly think of anything (boring answer srry)

40) How far do they plan to go with school? If they dropped out, do they want to go back?

Other

41) Are they dating anyone? Do they want to date? Are the married? Divorced? i already kinda answered this but he’s not partic romantically involved... however i think if he found someone he was In Sync With and who understood his mannerisms then he’d be very content with them... i think he would need a stable easygoing relationship based on shared interests and just casually fitting together and supporting each other rather than anything passionately heated or overly focused on traditional displays of affection

42) What is their favorite hobby? Do they keep it a secret? he’s a big nerd who collects various prosthetics/augment models and he absolutely doesn’t keep it a secret...................... 75% of the RP i’m in with him rn has been him geeking out over augs. the other 25% was me describing the facility.

43) If they could have one thing in life, what would it be? i think he’s more overall focused on the idea of a continuous stream of improvement over a few static goals? he’s constantly laying out new traintracks in front of himself to steam ahead on... he’d like to be happy and successful at what he does, ultimately, and really attain super advanced inventions

44) Do they work? If so, what is it? If not, are they looking for one or even want one? despite everything i’ve said here about him being a good empathetic guy, he is Inquest........ the inquest funds his research he does at their labs and they pay him for being the sigma-five supervisor

45) Do they use social media? i can’t see him using social media much tbh... he might be into podcasts and asuran youtube a bit

46) Have they ever been in the hospital? due to his strength issues and some stuff that happened as a very small child he has been quite a bit yes

47) Do they believe in the supernatural, that there is more than the eye can see? this is a weird question in the context of gw2 which has canon ghosts whoops.. im gonna interpret it as ‘are they superstitious’... vax isnt superstitious and i think he’d be very brave facing questionably supernatural forces but in a sort of logical way uh... he would Not be the first to die in a horror movie.... he’s a skeptic of non-scientific magic things with i think some lingering internal paranoia.. he’s a very logical person

48) What do they do when they get angry, stressed, or upset? broods in private probably....... depending on what he’s heated about he might go sit by himself for awhile or he’s gonna take his anger out while working on a project

49) Would they consider themselves as a good person, bad person, or morally grey? i think he tries to be a good person but he’s skeptical of that Status a lot and worries over it a good bit... again, typical inquest!

50) Does this OC have any part of you in them? (I.e, personality traits, similar background, etc) all of my ocs have parts of me in them to some degree, i think vax carries some things related to my disabilities, interpersonal and moralistic struggles, and the nerdy passion over my special interests

#oc talk #ask memes #tHIS TOOK SO LONG IM SO SORRY #vax

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mattsammonsez · 5 years

Text

Brass Tacts: Cracking Peanuts

A Depression-era child, mostly raised in a bitterly cold northern city that seemed to have no future. His mother died when he was 20, and his father was a humble barber who encouraged his only child even though he wasn’t quite sure what he could do to help his son’s desires to be a syndicated cartoonist. Battle-tested in World War II, seemingly drifting in society when he came back stateside. Despite adversity early and often in his life, Charles Schulz knew what he had as a cartoonist. With a sense of humor different from other “kiddie strips”, and a unique style of cartoon characters, the kid who couldn’t catch a break would revolutionize the daily comic as we know it.

I was inspired to make Schulz the focal point of Brass Tacts this week after a visit with my son to Legoland Florida this past weekend. While he was on a ride, the sound system in the park cranked out one Christmas song after another, eventually getting to Vince Guaraldi’s “Linus and Lucy”. As I was tapping my toes listening to the song, I thought of one of my favorite books I’ve read during the past few years: Schulz and Peanuts, A Biography by David Michaelis. I highly recommend this book for any content creator, as Schulz dealt with many of the things we deal with before and after he found fame.

While there are a lot of fascinating details in the life story of Charles Schulz, one thing that really stuck out for me was his determination to see his dream of becoming a syndicated cartoonist come true. Schulz not only persevered early on in his career trying to get noticed, but he also stuck with his intuition to be different from what the standard newspaper comics of the 1940′s were. Many comics in the 1940′s were single-paneled drawings, and if they featured children they were often background props while the adults carried the narrative. But starting with his Li’l Folks cartoons in 1947, Schulz let the kids shine in the spotlight not only with their commentary, but with the artistic license “pint-sized” characters gave Schulz in his drawings.

Adult problems being projected through the thoughts and actions of children are pretty common these days, be it in a static form such as Calvin & Hobbes or in animated form such as The Simpsons or South Park. But 70 years ago it was a revolutionary approach to addressing the world’s issues, or as Schulz would often do in later years, dig deep into his own psyche and share his inner feelings through Charlie Brown in a daily syndicated strip. Even though Schulz did get his early strips printed in his hometown St. Paul Pioneer Press as well as the occasional national spotlight courtesy The Saturday Evening Post, getting to the next level of syndicated cartoonist seemed to be elusive. The sticking point was numerous newspaper and syndicate executives who just didn’t get what Schulz was trying to do, as described in this retelling of a trip to New York City in 1947:

We’ve all been where Schulz was that summer, trying to peddle a great idea that gets rejected. What’s remarkable is Schulz’s optimistic response of knowing he was getting closer and closer despite the rejections. Who knows if Schulz was optimistic because he knew he had a great concept, or because once he did get accepted he would prove everyone wrong (or perhaps a bit of both). But throughout the next few years he pushed and pushed until finally getting United Feature Syndicate to carry his new strip in 1950. Yet even that was a challenge.

As also described in Michaelis’ book, the forces of the changing media world confronted Schulz as post-war America was shifting from newspapers and radio as the primary entertainment and news source to television. Already challenged with dwindling subscriptions and high operating costs, many newspapers had no reason to sign a contract for an additional comic strip. After all, comic strips didn’t pay the bills like sponsor advertising or personal classifieds did. UFS decided to pitch the new strip as a “space saver”, a four-panel strip that could be run horizontally, vertically, or cubed with the top two panels on top of the bottom two panels. This understandably irked Schulz who didn’t consider his clever work of art as merely a widget to make the rest of the newspaper layout work. But with a 5-year contract in hand and the chance to be nationally syndicated playing true, he relented.

Schulz also had the issue of the syndicate creating the name of the strip-- called Peanuts as a play off the term “peanut gallery”, often used to describe the audience of children on the TV show Howdy Doody. Schulz thought that peanuts were insignificant foodstuffs, again believing the name derided from the artistic quality of the strip. But with the name determined and the syndicate ready to sell it, Schulz again had to relent. Lastly one of his characters, a small dog, had his name unintentionally lifted for use by another cartoon. Thinking back to a promise his late mother had made when he was a child, Schulz remembered she said the next dog the family had could be called “Snoopy”, and that would come to be in ink.

Still not happy with his creation being marketed as a flexible “space saver”, Schulz made a crucial decision out of protest. To make his strip stand out not only from other comics but the inevitable placement next to classifieds or text from a story when placed anywhere in the paper as a “space saver”, Schulz decided that the background would be plain white. He would use white space within the strip to set it apart from everything around it. What started as a one-fingered salute to the space savers of the newspaper world became a simplified four-panel story five days a week. It was smart, sophisticated, and clean in an often cluttered newsprint setting.

The strip that very few people wanted to back or promote in the late 1940′s had become a smash by the late 1950′s. Schulz’s dream of becoming a syndicated cartoonist had not only come true, but as the 1960′s unfolded along with dozens of promotional and merchandise opportunities for Peanuts, the strip would be accepted worldwide for decades. Even after his death in February 2000, the strip still runs in daily newspapers, and you can always find something with Charlie Brown or Snoopy on it for a gift during the holiday season.

What does Schulz’s adventures teach us broadcasters and content creators?

Believe in your work: If you have something that is truly unique, entertaining, and thought provoking, it may not be accepted by “the establishment” early on. But stick to your guns and keep shopping your ideas and work to anyone who can see it and make a difference.

Make your work stand out: It’s a constant refrain from me-- be different either in creating something new or by improving something that already exists. Schulz’s decision to use white space in Peanuts was a major shift in how comics were drawn then, and it’s now a common practice for cartoonists to be minimalists with backgrounds. The unique body style of the Peanuts characters (likely based on the real-life build of Frieda Mae Rich, a fellow cartoonist student and dwarf at Schulz’s school in St. Paul) also helped differentiate the strip from others.

Don’t be afraid to go to the top: Sometimes you have to take your sales pitch very high up the ladder to get noticed, and Schulz often did that while shopping around his early comics in the 1940′s. But he also utilized people in middle areas of the management chain to get work done. While aiming for the top can often lead to disappointment in the form of rejection (or sometimes not hearing anything at all), if you do connect it can make a world of difference.

Know when to shut up: There may not have been a Peanuts strip had Schulz let his ego get in the way during the start-up days of the strip in 1950. The designation of the strip as a “space saver”, even the name itself “Peanuts” all could have been violently shot down by Schulz if he was too sure of what he had and could do. Very wisely he let the decisions by the syndicate be made, allowing for a launch. Once the strip caught on, Schulz was the ultimate decision maker, and played that role to perfection for the next 45 years.

Matt Sammon has been in broadcasting and content creation for 24 years, and was most recently the Director of Broadcasting & Programming for the Tampa Bay Lightning. Learn more about him and what he can do for you at SammonSez.com.

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