#Christopher Innvar | Explore Tumblr Posts and Blogs

miserablesme · 3 years

Text

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…

20 notes · View notes