#les mis review

[ruedesfillesducalvaire]

i love les misérables, especially [looks at smudged writing on hand] jean-paul john and javier

[secretmellowblog]

I'm so fascinated by how conservative reviews of Les Mis often recreate the same attitudes towards Valjean/Javert that Victor Hugo criticizes in the novel. If you've been following @psalm22-6's work collecting contemporary 19th century reviews of Les Mis (and you should!) you'll know that contemporary conservative reviewers often despised Valjean and praised Javert. This is also true for many modern conservative reviewers. And that's interesting because the larger commentary Hugo was making with the Valjean/Javert parallels is that....."Both Valjean and Javert were born in dire poverty and stigmatized because of the time they spent in prison. But wealthy conservative society hates Valjean because he's an outcast who will break their laws in order to defend marginalized people....while they approve of Javert, because Javert would happily destroy himself and everyone around him in order to lick their boots." Valjean is hated because he's "rebellious," Javert is accepted because "knows his place." Jean Valjean is "repugnant" because he would steal a loaf of bread to feed his family, and Javert is "noble" because he would happily sentence his entire family to die for the sake of obeying authority. Valjean is treated like a wild animal, while Javert is praised for his constant bootlicking subservience in the patronizing way you'd praise an obedient dog. I don't know, it's interesting to see these reviews recreating the same bigotry Hugo comments on in the novel. Reviewers make insulting bigoted comments about Valjean, and then praise Javert for how obedient/subservient he is and how he shows the Correct way for a lower-class inspector to behave, without any shred of self-awareness.

[starsfromtoulon]

on the heels of last post: how i like to imagine javert reading.

[ifwebefriends]

A Reflection of Starlight Review

(TW: brief mentions of COVID, cancer, and suicide) (spoilers for Les Mis but no spoilers for AROS)

Please indulge me as I tell a bit of a personal story.

I took French all throughout high school and also participated in French club. I was also really into musical theatre (and I still am) so I was interested in the musical Les Misérables. I saw it live once and it was incredible. Sometime during my sophomore year I tried to read the original Brick but didn’t get very far, it’s just kinda not my thing I guess. But the characters were so charming and endearing to me and I was primarily moved by the stories of Jean Valjean and Inspector Javert. I was moved by how their characters and stories mirror each other and how they’re so alike but their differences drove them to very different places. During my senior year of high school we watched the 2012 Les Mis film in French club one day. At the end when Javert kills himself, almost everyone in the room cheered, but I did not. While Javert did many bad things, had a very narrow worldview, and made things so much harder for our protagonist, I still felt pity for him. I felt pity that he lived by this one doctrine all his life because he kind of had no other choice and when faced with the idea that he may be wrong, he was so distressed and had no one to turn to, so he took his own life.

Earlier that year, I started reading a fanfiction called A Reflection of Starlight by AutumnGracy, and I was quickly sucked in. For those unaware, it is a continuation of the Les Mis book that starts with one big difference: Jean Valjean saves Javert from drowning after he throws himself into the Seine. From there, the two grow closer and Javert learns to live with the fact that the law isn’t infallible with the help of Jean Valjean.

I started reading this fanfic in the spring of 2019 and I didn’t finish it until today, January 15th, 2024. Over four years. To my credit, it is a HUGE work, spanning over 379,000 words; that’s longer than the entire Hunger Games trilogy, which is about 301,000 words in total. A lot has happened in my life since I started reading that slowed my progress. The COVID pandemic hit, I got diagnosed with cancer, beat cancer, started college, had a cancer relapse, beat the cancer relapse, and got a boyfriend all in the time that it took me to finish this thing. This is the longest text that I have ever read.

And there’s a good reason why I stuck with it: it’s absolutely amazing. While I didn’t read the original Brick, the wording and structure of the story seems very appropriate for the original time period and story. It’s extremely well-written and tells a compelling story all on its own that gives all of the main characters a resolution to their pasts and a hopeful and happy ending. It’s kinda plot-heavy, there’s a lot of original stories and plot lines taking place, but it is all engaging and wraps up really nicely.

The center-point of the story, however, is the growing relationship and eventual romance between Jean Valjean and Javert. From beginning to end you see how this beautiful relationship slowly develops and grows. And I mean SLOW. This is literally the slowest burn that I have ever read. But it’s worth it. Even before it’s explicitly romantic, there are lots of cute, endearing moments between the two that kept me hooked. They’re even asexual which makes my aspec heart so happy. This is probably the greatest fanfiction that I’ve ever read.

@autumngracy thank you so much for such a wonderful work. Your authors notes throughout were entertaining and made me feel like I was experiencing this story along with you. Your writing is phenomenal and I hope you know how great your skills are.

[l832]

Les Misérables (1917)

[enjolrasling]

I saw the Les Miserables US tour on Tuesday and am still IN MY FEELINGS about it, so here’s a random assortment of somewhat coherent thoughts/rambles/write up/review.

(Note: I saw the entire principle cast except Randy Jeter (who was out) and two ensemble swings. Andrew Marks Maughan was pulling double duty as both the Bishop and Combferre.)

• I didn’t know anything about Nick Cartell going in, but holy fuck, that VOICE. Tone is immaculate. Lungs of fucking steel.

• “Another story must beGINNNNNN” are you kidding me Nick. Who gave you the right to be this talented. Why is this man not more famous?!

• Preston Truman Boyd as Javert - voice is great, nice deep baritone. I wanted a smidge more from him acting wise though (this improved over the course of his performance).

• Nick and Preston sound phenomenal together, their voices work SO WELL.

• Haley Dortch has the voice of an angel and I loved her portrayal of Fantine.

• I appreciated that when Fantine was attacked/arrested all of the lovely ladies kept trying to stop it/help her. A nice staging touch.

• The whole transition into the courtroom was fantastic. Nick with that ending note of “Who Am I?” 🤯 I feel like I heard a few nods to Colm’s Valjean throughout Nick’s performance, this being one, which I appreciated on a cellular level.

• Confrontation sounded sooo good. It is a little goofy looking because Nick is so much shorter/smaller than Preston, which made the whole Valjean-as-stronger-man thing a bit silly. The blocking here didn’t do much for me. But what can you do. However! The “you’ll wear a different CHAInnn!” *cue Present with the chain hitting the stage floor* was fierce.

• It took a minute but Matt Crowle really won me over as Thénardier. Acting choices were 💯 without going over the top.

• There was a lot going on during “Master of the House” and it was a lot of fun, but also hard to catch everything.

• Gavroche was delightful. As usual.

• I’m not sure why Enjolras’ blonde wig was so bad, but it was really distracting. Devin Archer does a very decent Enjolras, but man that wig was not doing him any favors.

• Marius’ entrance was forgettable. I think this was more a staging issue than a reflection on Jake David Smith maybe? All the students kind of looked the same at this time. I had a hard time telling Les Amis apart all night, honestly. Except for Enjolras and Grantaire, obviously, which brings me to….

• Kyle Adams. You freaking fan-servicing national treasure. Cards on the table, seeing reviews of Kyle’s Grantaire was the single biggest reason I decided to catch this tour, and I was really, REALLY hoping to see him in the role. I did not think anyone would ever come close to eclipsing Hadley as my R of all time, but Kyle is right up there in his orbit. Omg that scene stealing little shit. He really put his all into “the drunk one”. Blowing the kiss to E at the end of Red and Black. Continually slapping people with his coat jacket. The dick-bottle in Enjolras’ face. Constantly goofing around with Gavroche. It was all gold. I really appreciate an actor who’s done their homework, and Kyle is very obviously well versed in both the source material and the rabid E/R fan fiction. His performance is a love letter to the fans - to those of us who have cried over the brick, who have watched every musical version we’ve been able to get our hands on over and over again - and I love that for all of us.

• Anyway, back to “Red and Black”. Devin is great, really brings the sassy Enjolras energy. Marius is….kind of forgettable again. Sorry, Jake. Enjolras when he grabs that flag…Devin is really serving.

• “Do You Hear the People Sing” was wonderfully rousing, as always. One of my favorites forever. The transition to the streets was very pleasing. Again, Devin with that damn flag. I might end up shipping Enj with the flag as much as E and R, he’s that passionate with it 🤣

• Delaney Guyer was a perfectly pleasant Cosette. No criticisms, I just haven’t really ever cared about Cosette much as a character. Her songs do very little for me. But Delaney was lovely.

• Mya Rena Hunter as Eponine was somewhat “meh” for me. Her vocals are killer and “On My Own” got one of the biggest ovations of the night, but I didn’t love her acting choices. Or maybe lack there of, it didn’t seem like there were any. I dunno.

• The staging/choreo for “One Day More” was really entertaining. Much better than the underwhelming marching I saw in the 2012 production. Devin serving sassy, dramatic Enjolras with flair and a rifle is a whole ass mood.

• I fucking love the barricade set. Seeing Les Amis climb all over that thing is such a moment. Enjolras literally leaping off the set multiple times. Dude gets AIR.

• Gavroche flipping off Javert was an audience favorite.

• “A Little Falls of Rain” was underwhelming. The staging was a bit awkward and there was no scene chemistry between Jake and Mya. I really wanted to feel something. I didn’t. Just eh.

• “Drink With Me”, on the other hand, was so wonderfully emotional. Kyle’s stying of R’s verse is an angrier, grittier interpretation and I’m sooo here for it. Enjolras goes to console him and R pushes him away. The pain feels so real.

• “Bring Him Home”….Nick. Fucking. Cartell. I have no words. He cast an absolute SPELL over the theater. His breath control is super human. His last “home” note went on FOREVER. Absolutely phenomenal. Hands down best version I’ve ever heard live. Biggest ovation of the night.

• Gavroche’s death 😭 So sad, so well done. It was very striking how he was shot just as Enjolras’ hand reached up for him as he returned. The timing, the lights, sound everything was excellent. Then he crumpled onto E’s shoulder. E handed his lifeless body to R, who was just devastated. I love the relationship they created between Gavroche and R this production. The entire build up of their interactions made this moment so poignant and believable.

• Christopher Robin Sapp really took his 5 seconds of National Guard Officer/Loud Hailer time and absolutely slayed it. I want to see more of this guy in the future.

• The choreo of the final battle was very satisfying. I totally missed Marius getting injured and just mistook him for another student because again….Marius was just not catching any of my attention this tour, lol. The frantic moment between E and R in this scene was so raw and well done by both actors. R reaching for E’s face, clasping hands so very briefly. Ugh.

• Then E with the flag again. This scene is so striking and Devin gives it EVERYTHING. Then R climbing up after E once he gets shot and falls off of the barricade. The way it takes a few moments for R to die after being shot and Kyle freaking Adams makes sure the audience knows it…

• I was lucky enough to see a production with the revolving stage back in the day and I’m really glad I did, because the reveal of Enjolras’ body hanging upside down off the other side of the barricade with the flag is one of those theater moments that will haunt me forever. Enjolras’ lifeless body in the cart just doesn’t have quite that same punch, but it’s timed very nicely with the music swell, and the way his body shifts/almost falls out of the cart when it’s carried away again is quite effective.

• Ok so the sewers. That was cool. I felt like this production used just enough of the screen to really assist the set design without relying on it too much. It worked really well for the orchestration and gave depth to Valjean just dragging Marius across the stage 3 times.

• Thénardier dragging in that corpse by his ankles for “Dog Eats Dog” lol. Matt really showed up for this scene. I think he did a good job of dipping into the “comedic” aspects of Thénardier as well as balancing the really rotten parts - this was a really great rotten part. I thoroughly enjoyed his turn as the infamous innkeeper.

• Javert is such a little drama queen.

• “Stars” was A++++. One of my forever favorites anyway, but Preston took this song to church. Also, I do NOT remember this staging, if it’s what I saw in 2012 (I don’t think so?!) and holy shit. I was not expecting what they did, which got quite a few gasps from the audience. The falling/floating/reaching while holding that last “ONNNNNNN” was a fucking MOMENT. Props to this production set up. Major props to Preston. Just wow.

• The transition from “Turning” to “Empty Chairs at Empty Tables” was beautiful, and I love love love the candle choreography. When Les Amis blow their candles out….ugh 😭 This number was a bit of redemption for Jake David Smith, who until now had kept slipping into the background. I found his Marius to be a bit uninspired and unrecognizable for the most part. He did not bring much of a presence to the role until this moment. But his vocals were great here, and the anguish felt genuine.

• I don’t have much too say about “Beggars at the Feast” because I was too busy watching no one but Kyle Adams as Major Domo for the entire scene 🤷🏻‍♀️

• But omg the change of Thénardier’s lyrics from “this one’s a queer / but what can you do?” to “this one’s a queer / I might try it too” and then he dips that random wedding guest dude was a giant yes from me.

• Finale left a touch to be desired blocking/staging wise. I remember feeling that way with the 2012 production as well. Les Mis is just such a powerful musical, I feel like it deserves a bigger ending than basically everyone just standing in two lines behind Cosette and Marius. The cast’s vocals made up for the lack of production though. Truly so, so good.

• In conclusion: Nick Cartell has an otherworldly voice and Kyle Adams is the Grantaire we all deserve. I am so, SO glad I got to experience this cast.

[i-ideate]

just watched les mis (2012). Rating: 9/10. Loses a point for Russel Crowe.

I'll admit, going into the movie I was iffy about everyones voices and how they'd do, but they all delivered. The only other person I'd say was sorta like not up to scratch was Amanda Seyfried, but she seemed to have been trying and her acting was great. Redmayne? Scared about him too, heard a few dudes on 'ere saying he sounds like kermit. I sorta agree.

But the cinematography, the added context and songs to make it more book accurate, the acting from everyone (especially Anne Hathaway my queen) was just stellar. Will definitely watch again.

Another reason it loses a point is because of how much i cried at the ending. When grantaire and enjolras are together in the barricade? when eponine and gavroche were at the barricade? My mother and me w e p t.

My mother cried so hard her left eye is now tainted red (she should get that checked but we've had enough of the hospital in the last 24 hours)

[cometomecosette]

Review: Les Misérables, US National Tour, Orpheum Theatre, San Francisco (July 15, 2023) (long)

This review is very late, but better late than never.

This was my first time seeing Les Mis live onstage since 2018. While YouTube has kept me well supplied with performances in the meantime, I was overjoyed to finally see it live again.

The production, of course, is still Laurence Connor and James Powell's "25th Anniversary" production that premiered in 2009, and which is now the official "replica" production all over the world. My views on it are still the same: it can't hold a candle (or a silver candlestick) to the original Trevor Nunn/John Caird production, but it's still effective, still handsome and atmospheric, and still a good, solid way to experience the musical.

I did notice some changes from when I last saw the show, however:

*Once again, I noticed that a few costumes have been redesigned. The convicts' uniforms now feature historically accurate red smocks. Fantine's factory dress has been redesigned yet again (not to my liking – I preferred the solid turquoise dress from the previous tour). Mme. Thénardier now wears a red bodice at the inn. Éponine no longer wears her overcoat before Act II. Both Thénardiers' "Beggars at the Feast" costumes have also been slightly altered: her skirt is now trimmed with a pattern of ruffles instead of feathers, and his trousers are slightly less poofy (both improvements, IMHO – the costumes are still gaudy, but not cartoonish anymore). And in the final scene, Éponine's spirit now wears a floor-length version of her overcoat, giving her a subtly more "angelic" look, much like the train added to Fantine's nightgown.

*There seemed to be more spoken ad-libs from the cast than I remember from past performances. Not to the extent of, say, the 2014 North Shore Music Theatre production, but notable. For example, this exchange between the Thénardiers just before "Master of the House": Thénardier – What time is it? Mme. T. – Time to get to work! Thénardier – There she is! My daily reminder that you can be happy, or you can be married!

*The "Waltz of Treachery" gave comic business to Young Cosette, of all people! On "That would quite fit the bill..." the Thénardiers picked her up and held her horizontally, stiff as a board, and then on "...if she hadn't so often been ill," she dramatically went limp. It seemed as if they had trained her to play sick in this way, presumably to earn charity from rich travelers. I didn't care for it, though: Young Cosette isn't a character who lends herself to slapstick comedy.

*Grantaire didn't scream "No!" when Gavroche was killed. Instead the whole barricade went deathly silent, as they used to in the old days of the classic Nunn/Caird production. I'm not sure if this was a change in direction or just an acting choice, but I'm assuming the former, because every past Grantaire I've seen or heard in the Connor/Powell production has done the "No!"

*The gag from the previous tour of Mme. Thénardier stuffing her face with cake in the wedding scene is gone. Just as well: it was goofy slapstick at best and fatphobic at worst.

*In "Beggars at the Feast," instead of "This one's a queer, but what can you do?" Thénardier sang "This one's a queer. I might try it too!" then grabbed the man and "romantically" dipped him.

One thing I definitely like about the current tour is the commitment to diverse casting, which wasn't seen nearly as much in the classic Nunn/Caird production until its last few years. In this particular performance, Jean Valjean, Fantine, Marius, Éponine, Cosette (both older and young), and Gavroche were all people of color.

But of course, diverse casting would mean little if the performers didn't give good quality performances. Fortunately they all did. Some performances I liked better than others, but there was no denying how talented the whole cast was.

Randy Jeter (Jean Valjean u/s)

How ridiculous it is that in the musical's 37 years of existence, this man is only the third black actor to play Jean Valjean in an official Cameron Mackintosh production! While I was a little disappointed at first not to see Nick Cartell again, I'm very glad now that I saw Randy. His voice was rich, clear, and alternately powerful and sweet: excellently suited to the music. And he did full justice to Valjean's journey, with all its transformations and wide range of emotions, making every one of the believable. My only reservation about his performance was that physically, he was a little bit youthful and slight for the role. I hope that either in this tour or in future productions, more people get a chance to see his Valjean.

Preston Truman Boyd (Javert)

One of the best of the last several Javerts I've seen live. He was a solid, imposing stage presence, who sang with a rich, handsome baritone voice with a bite to it that almost recalled Philip Quast, and was an appropriately inexorable force of the law until he was ultimately broken. I was relieved that he wasn't too aggressive or neurotic, but gave a traditional, hard and stolid characterization.

Haley Dortch (Fantine)

A lovely and passionate Fantine, with a beautiful, powerful voice. Past Fantines whom I've seen in the Connor/Powell production have tended to be slightly too delicate and passive for my taste, so I was glad to see her bring a good amount of fire to the role.

Matt Crowle (Thénardier)

A talented, enthusiastic performer, but not quite ideal for this role. Besides seeming slightly youthful for the part (not uncommon), he was a flamboyant comic Thénardier, without the edge of nastiness or realism that other actors bring. Still, as I discovered from an interview, he's read the novel, and he did do a good job of creating a ferret-like stage presence and a "scratchy, vermin-like voice" (in his own words). I've seen better, but he was fine.

Christina Rose Hall (Madame Thénardier)

A decent Mme. T., but like her onstage husband, she wasn't as nasty as she could have been. This might have been intentional on her part, though: she often seemed as if she was trying to play a more sympathetic, comically put-upon Thénardiess. But to make that portrayal fully work, I think her husband should have been more of a domineering emotional bully than Matt's Thénardier was. Overall she was good, but both Thénardiers needed more of an edge.

Christine Heesun Hwang (Éponine)

A good Éponine whom I'd like to see again sometime. Her voice was rich and powerful, and while she wasn't particularly wild or gritty, she brought good, solid toughness to the role that I like to see, as well as plenty of feeling. Her "On My Own" went beyond mere pining into desperation, as if she were on the verge of a nervous breakdown, and "A Little Fall of Rain" was beautifully gentle and tender.

Christopher James Tamayo (Marius u/s)

I liked him very much. His voice was a warm, rich baritenor, which I prefer to the thin, high tenors of so many recent Marii. His characterization was excellent too: gentlemanly and dignified, yet youthful, innocent, and tender, and believable in all his many emotions. He deserves to be the regular Marius, not just an understudy, either in this tour someday or in a future production.

Devin Archer (Enjolras)

Until after the show, I had forgotten that I saw him as Marius in a regional production back in 2015. He's definitely grown up nicely from a Marius into an Enjolras. While too "human" and "manly" to be Hugo's "marble lover of liberty," he was an appropriately strong, dignified, courageous leader, staunchly dedicated to the cause, yet a caring friend too, with a reserved yet commanding stage presence and a handsome, powerful voice to match.

Addie Morales (Cosette)

Good, but not a favorite. Her voice was light, pure, and slightly thin, but pretty. Acting-wise, she was a very lively, bubbly Cosette, often giggly in Act I, and an angry "rebellious teen" toward Valjean (though still with all-important moments of affection). I used to favor that characterization because it made Cosette "stronger," but now I have mixed feelings about it, because it's not really true to her upbringing or to the novel. Still, as a whole, she was good.

Ciaran Bowling (Grantaire u/s)

In a US tour performance, I wasn't expecting to see a British veteran of the London production who also had a minor role in the 2012 film! But he was a welcome presence: appropriately funny and boisterous in "Red and Black," angry and despairing in "Drink With Me," and touching in his reconciliation with Enjolras and his death.

(Though I must admit, I'm not the biggest fan of the current staging of Grantaire's "Drink With Me" solo, where he goes to center stage, sings the solo angrily and aggressively, and then pushes Enjolras away when the latter tries to talk to him. It annoys me that every replica-production Grantaire now performs it that way. I miss the variety from the old days, when individual actors and resident directors were allowed to do what they liked with that moment and bring all sorts of different emotions and nuances to it.)

Milo Maharlika (Gavroche)

An excellent, lively, likable young presence.

(I do like the fact that in the current staging, Gavroche is everyone's emotional support at the barricade, comforting both Marius after Éponine's death and Grantaire in "Drink With Me.")

Vivian Atencio (Young Cosette)

An appropriately sweet little girl.

The ensemble was excellent all around.

Going to see this performance was such a wonderful experience. It would have been a thrill no matter what, because I've been waiting five years to see the show in person again, but the good performance quality made it truly shine. I hope that within the next few months, while the show is still in California – most likely when it comes to San José in October – I can see it again.

[rachel-sylvan-author]

"Les Misérables" by Victor Hugo book recommendation by Rachel Sylvan

[mytastessuck]

Key & Peele: Les Mis

YOUR BOY WOLVERINE IS IN THERE! YOUR BOY GLADIATOR IS IN THERE!

My favorite Key & Peele skit, with some serious love for the source material. Seriously, once you notice what Stop & Go is, you'll never stop noticing it after listening to this.

Song Score: 1862/10

[benevolenterrancy]

My 2022 art summary! A standout piece of art from each month, though I had to admit it was occasionally hard to find a picture that wasn't a silly comic :P

And, because I always find this interesting to reflect on, here's a list of all the fandoms I did at least something for even if it was only a silly doodle:

...I hadn't actually planned to publish the numbers, I was just personally curious, but I'm currently being killed by the goddamn fifty-six pieces of Hogan's Heroes art I apparently did, I didn't realise I had done that many???? I knew it was an amount but good lord

[ruedesfillesducalvaire]

this is such a bizarre take on les misérables i love this

[secretmellowblog]

speaking of Les mis fix it fanfic —if you’re into Post-Seine Valvert stuff I recommend reading @breadvidence’s new tragicomedy “Dammit”! Because I’ve been enjoying it and it deserves more attention! And if you enjoyed my recent fanfic, it’s in a similar vein (brick-inspired anti-police post-seine black comedy Valvert that’s still very sincere) and I feel like we’d have an overlap in audiences XD.

A modern au fusion between the Brick and the modern-setting Dallas production of the musical , it’s a fic about Javert struggling to adjust to life after quitting his job while Jean Valjean struggles to adjust to Cosette going off to college.

It’s also a “lots of people live” AU where (many of) Les Amis survive their modernized-version-of-the-rebellion, and are put on trial for the murder of Claquesous/Le Cabuc. Apparently some of them are going to play a bigger role in the story later on, which is always fun.

I’m always excited by Valvert fics that Get the anti-police themes of the novel, and also that understand things like “Javert can really suck as a person, but he’s also deeply pathetic” and “Jean Valjean has his own very weird horrible angst outside of his relationship with Javert.”.

Idk I enjoy Valvert fics that don’t make them “perfect soulmates who slot together like puzzle pieces” but “deeply weird broken old men being extremely Strange around each other in a way that’s a bit of an emotionally complicated and Questionably healthy train wreck.” I just think that’s fun!

[elijah-loyal]

chapter 5 of the jurassic park au is cookin' y'all, i promise im working on it

[alexanderpearce]

howie thewickerman javert lesmis same kind of autistic

[granhairdo]

A Comprehensive Review of A Little in Love by Susan Fletcher

Disclaimer: Everyone can interpret the original book however they want, this is just me comparing how I viewed the original book to this. You and the author of this novel might have interpreted Éponine quite differently than I did :)

Ever since I heard there was a novel from Éponine’s perspective, I’ve been very curious to read it. It took me a few months, but I eventually bought myself an eBook copy and read it. But to be quite honest, I didn’t really like it.

My problem with this novel isn’t necessarily an issue with the content, and more of an issue about what was promised from it, which led me to have issues with the content.

The Amazon description states that it stays true to Victor Hugo’s novel, which I find a lie. This could have just been the author’s interpretation of the character, but to me if feels more like fanfiction of the musical with some added novel characters than a full fledged published book based off the original novel.

Now, I can see why bits of the content was toned down a little bit. This was a novel intended for a young teenage audience (12-15) so some of the more adult themes needed to be cut, which is understandable as it’s for a younger age group. But it seemed like cutting wasn’t a problem with this, it really just got rid of mentions of sex or suicide, and that was about it. It even elaborated on the harsh realities of street life, which I did find enjoyable. 

I didn’t completely hate this novel, I did enjoy a bit of it. I really enjoyed the writing style, it felt as if Susan Fletcher was really experienced in writing these sorts of period novels (I’m not familiar with her so maybe she does focus on period pieces like this). I also really enjoyed how she took scenes that weren’t really shown in the novel and made them big moments in Éponine’s life. 

Now onto my issues. My biggest issue with this novel is how Éponine is portrayed. To me, in this she feels far too innocent and righteous. Don’t get me wrong, Éponine in the original book has a righteous and protective side to her, but it isn’t her entire personality.

At first, as this is in first person POV, I thought that that her righteous way of describing herself was just an act she was putting on in her own head, portraying herself as the hero in her own mind. Which that is a very interesting thought on its own, but that’s not what the deal was in this. She carries her righteous thoughts into her actions as well, not doing anything wrong, which to me turns her into more of a Mary Sue than a corrupt street girl.

They cut out the whole “Éponine leading Marius to the barricade” thing from the book, and turned it more into a “Im gonna follow Marius to the barricade to protect him” which is basically how it went in the musical, but the musical doesn’t promise to be brick-accurate.

I also just find the whole puberty side plot at the beginning of it kind of annoying. It just feels like super forced relatability. I mean maybe if I had this book as an angsty hormonal 13 year old, I might have found that nice and relatable. 

If you want to write a book about relatable teenhood… please write about Cosette. (It might be my ‘I love Cosette’ brain telling me this, though). But in the original novel, Cosette had such a relatable teenhood that can be applied in the modern era. Just give her her first period and some new boobs and throw that into a 300+ page book, now I’d read that.

This book feels like it’s targeted at a strangely specific audience. But the problem is that audience is 14 year old ‘Eppi-boppers’ from 2013, and honestly as a former Eppi-bopper, I would have loved this book. But the problem is that this was published far after the “Eppi-bopper era” from like 2012-2015, so it kind of missed its time. If this book were published like 4 years earlier it would have been a HUGE success.

Also, I nearly peed my pants in laughter at the end because the last line was “love never dies” and all my stupid brain could think of was the shitty phantom sequel.

But long story short, I wasn’t a big fan of this book, and I don’t really recommend it for someone who has a less romanticized view of Éponine. But, if you’ve never cared for the book and only like the musical, I think you may enjoy it! Go for it! 

If you’ve read this novel before, I’m curious to see if you liked it or not.