EDUCATION RESOURCE PACK AUSTRALIAN TOUR 2014 Les Misérables – Education Resource Pack

Transcription

CAMERON MACKINTOSH’S ACCLAIMED NEW PRODUCTION
EDUCATION RESOURCE PACK
AUSTRALIAN TOUR 2014
Les Misérables – Education Resource Pack
TM © 1986 CMOL
TM © 1986 CMOL
BOUBLIL & SCHÖNBERG’S LEGENDARY MUSICAL Lyrics by HERBERT KRETZMER
OVERTURE: AN INTRODUCTION
Dear Teacher,
Welcome to the Education Resource Pack for the 2014 Australian tour of the classic musical, Les Misérables.
This education program is designed for students aged 13 years and over to coincide with the suggested age group
for attendance to the stage musical. This resource includes discussion points and seven lesson plans, as well as
supporting material surrounding the production. The activities focus on the transfer of the classic tale from page
to stage and then screen and universal themes such as: social structure, poverty, crime and punishment. In addition,
activities surround aspects of the live production, including characterisation, music and staging which lead to
students writing their own personal review of the show.
Each activity is based around the challenges faced turning a classic and much-loved novel into a fully staged musical
theatre production (and then a feature film), maintaining the existing plot, characters and their environment,
complete with a libretto, comprehensive staging and a complex physical production. Combined with a visit to the
show these lessons will give your students an insight in the production of the musical, as well as a pivotal time
in French history and the personal journeys of Victor Hugo’s famous characters including Jean Valjean, Javert,
Fantine, Eponine, Cosette and Marius.
This resource pack has been created for use in the classroom and is designed to facilitate discussion and the gaining
of knowledge surrounding the complex elements which, when combined, result in this production.
We hope your students enjoy their journey with Les Misérables.
TM © 1986 CMOL
V. jouir de, prendre plaisir!
CONTENTS
Overture: An Introduction 2
About Victor Hugo
4
Victor Hugo Chronology
8
BEFORE SEEING THE SHOW
About The Novel
About Emily Bayard
6
12
Chronology – The History That Lead To The Novel, Musical & The Film13
AFTER SEEING THE SHOW
Discussion Topics
15
Activity 1: From Page to Stage
17
Fact & Figures
Activity 2: The Characters
Activity 3: The Universal Story
Activity 4: The Miserable Ones – The Homeless and the Poor
Activity 5: Crime and Punishment
Activity 6: Reviewing the Performance
Activity 7: From Stage to Screen
Stage This Classic Musical at Your School
16
18
19
20
22
23
24
25
APPENDICIES
APPENDIX 1: Synopsis of Les Misérables
27
APPENDIX 3: Cast 33
APPENDIX 2: Creative Team
APPENDIX 4: Media Release
APPENDIX 5: Reviewing Success
APPENDIX 6: Les Misérables and Australia
APPENDIX 7: Les Misérables Major Awards
29
35
37
38
39
© Les Misérables Copyright for this resource remains the property of CMA Pty Ltd. Permission to reproduce parts or this
entire guide is granted to educational and training institutions for exclusive use in classroom learning exercises only.
TM © 1986 CMOL
ABOUT VICTOR HUGO
VICTOR HUGO’S enormously successful career covered most of the nineteenth century and spanned both the
Romantic and Realistic movements. A great poet, novelist, playwright, essayist, pamphleteer, diarist, politician and
moralist, Hugo was a man of immense passion and endless contradictions.
Hugo was born on February 26, 1802. His father, General Joseph Leopold Hugo, was the son of a carpenter who
rose through the ranks of Napoleon’s citizen army. However, Victor’s mother decided not to subject her three
sons to the difficulties of army life, and settled in Paris to raise them. Madame Hugo became the mistress of
her husband’s commanding officer, General Lahorie, who was a father figure to Hugo and his brothers until the
General’s execution in 1812.
Victor was an excellent student who excelled in mathematics, physics, philosophy, French literature, Latin, and Greek.
He won first place in a national poetry contest when he was 17. As a teenager, he fell in love with a neighbour’s
daughter, Adele Foucher. However, his mother discouraged the romance, believing that her son should marry into
a finer family. When his mother died in 1821, Victor refused to accept financial help from his father. He lived in
abject poverty for a year, but then won a pension of 1,000 francs a year from Louis XVIII for his first volume of
verse. Barely out of his teens, Hugo became a hero to the common people as well as a favourite of heads of state.
Throughout his lifetime, he played a major role in France’s political evolution from dictatorship to democracy.
HE LIVED IN ABJECT POVERTY FOR A YEAR,
BUT THEN WON A PENSION OF 1,000 FRANCS
A YEAR FROM LOUIS XVIII.
In 1822, he married Adele Foucher, who became the mother of his children, Leopold-Victor, Charles-Victor,
Francois-Victor, Adele, and Leopoldine.
In 1830, Victor became one of the leaders of a group of Romantic rebels who were trying to loosen the hold of
classical literature in France. His play Hernani, whose premiere was interrupted by fist- fights between Hugo’s
admirers and detractors, took a large step towards a more realistic theatre and made him a rich man.
During the next 15 years he produced six plays, four volumes of verse, and the romantic historical novel
The Hunchback of Notre Dame, establishing his reputation as the greatest writer in France.
TM © 1986 CMOL
In 1831, Adele Hugo became romantically involved with a well known critic and good friend of Victor’s named
Sainte-Beuve. Victor became involved with the actress Juliette Drouet, who became his mistress in 1833. Supported
by a small pension from Hugo, Drouet became his unpaid secretary and travelling companion for the next fifty years.
After losing one of his daughters in a drowning accident and experiencing the failure of his play Les Burgraves in 1843,
Hugo decided to focus on the growing social problems in France. He was joined in his increasing interest in politics
by a number of other Romantic writers, marking the beginning of the Realistic-Naturalistic era in French literature.
Hugo was a moderate republican who was made a Peer of France in 1845. After the Revolution of 1848 and
the founding of the Second Republic, he was elected a deputy to the Constitutional Assembly. Three years later,
when Louis Napoleon abolished the Republic and reestablished the Empire, Hugo risked execution trying to rally the
workers of Paris against the new Emperor. However, his efforts failed, and he had to escape to Brussels.
As a result, Hugo spent the next decade in exile with his family and Mme. Drouet on the islands of Jersey and
Guernsey. During these years, he wrote satires about Louis Napoleon, returned to his poetry and published several
novels including Les Misérables, which he had begun years earlier.
OVER 3 MILLION SPECTATORS FOLLOWED
HIS CORTEGE TO THE PANTHEON.
When Les Misérables was published in Brussels in 1862, it was an immediate popular success in spite of negative
reaction by critics, who considered it overly sentimental, and the government, who banned it.
After the Franco-Prussian War and the fall of the Empire in 1870, Hugo made a triumphant return to Paris.
He remained there through the siege of the city and contributed portions of his royalties to purchase weapons.
He lost two sons, one in 1871 and one in 1873. Although he was elected to the Senate in 1876, poor health caused
him to return to Guernsey. Mme. Hugo died in 1868 and Mme. Drouet in 1882.
TM © 1986 CMOL
Hugo died in 1885 at the age of eighty-three. Although he left instructions that his funeral be simple, over
3 million spectators followed his cortege to the Pantheon, where he was buried amid France’s great men. Hugo’s death
came at the end of a century of war, civil conflict, brutally repressed insurrections such as the student rebellion in
Les Misérables, and social injustice. Because of his belief in the triumph of good over evil and his pleading for
tolerance and non- violence, Victor Hugo was the herald of the new democratic spirit.
ABOUT THE NOVEL
Les Misérables is a melodramatic novel written from the premise that any man can rise above his circumstances to
reach perfection. The plot of the novel is suspenseful from start to finish; it follows both Jean Valjean’s and society’s
struggles with good and evil.
Hugo began to think about Les Misérables as early as 1829. He observed the specific incident that triggers the
novel’s action on the streets of Paris in 1845. On a sunny but cold day, he saw an impoverished man being arrested
for stealing a loaf of bread. As the man stood on the street, an ornate carriage pulled up beside him. Inside there
was a dazzlingly beautiful woman dressed in velvet, playing with a child hidden under ribbons, embroidery and
furs. The impoverished man stared at the woman in the carriage, but she was totally unaware of him. Hugo wrote
that he saw this man as, “the spectre of misery, the ghostly forewarning in full light of day, in the sunshine, of the
revolution still plunged in the shadows of darkness, but emerging from them. The moment he become aware of her
existence, while she remained unaware of his, a catastrophe was inevitable.”
WHEN LES MISÉRABLES WAS PUBLISHED IN 1862,
IT GENERATED MORE EXCITEMENT THAN ANY
BOOK IN THE HISTORY OF PUBLISHING.
As the years passed, Les Misérables evolved as Hugo’s own life experiences shaped his philosophy. He incorporated
personal memories of all kinds in the novel, often mixing everyday trivial fact with fiction to give the story a sense
of journalistic truth. By the time it was published in 1862, it had become an epic novel, expressed in rich prose
within a strong framework of history, philosophy, and political theory. “This is a leviathan I am about to ship out
to sea,” he said before publishing.
When Les Misérables was published in 1862, it generated more excitement than any book in the history of publishing.
It was widely advertised in Paris with giant sketched portraits of Cosette, Fantine, Marius and Jean Valjean.
Foreshadowing the success story of the musical, over one hundred years later, the novel Les Misérables was, initially,
a popular, rather than a critical, triumph. “All the reviews,” wrote Hugo, “are reactionary and more or less hostile.”
Like the musical, critical opinion had absolutely no effect on public interest in Les Misérables. Bookshop owners
and other vendors literally battled to buy copies of the book for their customers. Long lines and traffic jams were
observed all over the city as people fought to buy one of the 48,000 copies put on sale the first day.
TM © 1986 CMOL
This phenomenon was echoed in 1985, when the musical version of Hugo’s novel opened in London to mostly poor
reviews. When Cameron Mackintosh, discouraged by the adverse critical response, called the box office, he was
greeted by a happily busy ticket salesman.
“I’m amazed you managed to get through,” Mackintosh was told, “the phones haven’t stopped ringing.” As with the
novel, the story of Les Misérables had touched a common chord, and its great success was built on word of mouth.
Hugo wrote about his book, “I don’t know if it will be read by everyone, but it is meant for everyone. It addresses
England as well as Spain, Italy as well as France, Germany as well as Ireland, the republics that harbour slaves as
well as empires that have serfs. Social problems go beyond frontiers...” To further his goal of presenting the ideas
of Les Misérables to as wide an audience as possible, Hugo urged his publishers to bring out cheaper editions of the
book in small print to make it available to ordinary people.
THE BOOK WAS A SENSATION IN AMERICA,
WHOSE OWN CIVIL UNREST AT THE TIME
SEEMED TO MANY TO MIRROR THE EVENTS
AND FEELINGS OF THE NOVEL.
The initial French language success was copied all over the world as soon as the book became available in translation.
The book was a sensation in America, whose own civil unrest at the time seemed to many to mirror the events and
feelings of the novel. Indeed, Confederate soldiers read the novel voraciously, calling themselves “Lee’s Miserables.”
As with any work of art pleading for social change, the novel Les Misérables acquired many enemies. Conservatives
feared the social impact of the novel, and the Vatican banned it for several years. A theatrical version, written by
Hugo’s son Charles, was banned in France, opening instead in Brussels. The French newspaper The Constitutionnel
wrote that if the ideas of the novel were acknowledged, “no part of the social order would remain standing.”
TM © 1986 CMOL
Nonetheless, Les Misérables has been translated into nearly every language and, during the past century, has become
one of the best-selling books in history.
VICTOR HUGO CHRONOLOGY
1772
Birth of Sophie-Francoise Trébuchet, Victor Hugo’s mother.
1773
Birth of Léopold-Sigisbert Hugo, Victor Hugo’s father.
1788
First Fleet under the command of Captain Arthur Phillip arrive Sydney Cove, Botany Bay Australia.
1789
French Revolution begins.
1798
First French Republic proclaimed.
1792 - 95
The republican ‘Convention,’ ending in Robespierre’s terror.
1793
Louis XVI executed. The ‘Chouans’ (royalist Breton insurgents) begin their full-scale civil war against the
republican French government. Léopold-Sigisbert Hugo, an officer in the republican army, is posted to
Britanny as part of the repressive peace-keeping force.
1795 - 1799
‘Le Directoire’, the first post-revolution government.
1796
Léopold-Sigisbert Hugo, on patrol, meets Sophie-Francoise Trébuchet, a Royalist, verifies her identity papers,
searches her parents’ farm, and falls in love with her.
1797
Marriage in Paris of Sophie-Francoise Trébuchet and Léopold-Sigisbert Hugo.
1798
Birth of Abel Hugo, Victor Hugo’s elder brother (who dies, insane, 1855).
1799 - 1804
The ‘Consulat.’ Bonaparte takes command.
1802
TM © 1986 CMOL
Birth of Victor-Marie Hugo.
1803
Léopold-Sigisbert Hugo posted to Elba in disgrace, remains there with his three small sons (Eugene, the
youngest, is born in 1803) while Sophie Hugo remains in Paris, and is befriended by General Victor Lahorie,
her husband’s former commanding officer. Léopold-Sigisbert and Sophie-Francoise drift apart; he takes up with
Catherine Thomas (a nurse), and begins living with her. Sophie Hugo finally rejoins her husband in Elba briefly,
but they quarrel constantly.
1804 - 1815
French Empire; rise and fall of the Napoleonic Empire, ending with the battle of Waterloo.
1804
Napoleon crowns himself at Notre Dame; French Empire proclaimed. Sophie and her three children return to
Paris, settling at 24 Rue de Chichy. General Lahorie, now retired and wanted by the police for plotting against
Napoleon, lives at no.19.
1807
Léopold-Sigisbert Hugo promoted colonel and posted to Naples, where he makes a favourable impression on
Napoleon’s younger brother Joseph.
1808
Joseph Bonaparte is made King of Spain by Napoleon. Léopold-Sigisbert Hugo follows the French King to
Spain and gets a lucrative staff appointment.
1811
Sophie Hugo makes one last attempt to resume marital relations with Léopold-Sigisbert, and joins him, with her
family, in Spain. Léopold-Sigisbert hears of his wife’s affair with Lahorie and sues her for divorce. Sophie and
her children return to Paris a few months later.
1812
Lahorie is executed for plotting Napoleon’s downfall.
1814
Back in France, General Léopold-Sigisbert Hugo distinguishes himself at the siege of Thionville.
Sophie Hugo sues him for maintenance.
1815
France becomes a monarchy once more under Louis XVIII. General Léopold-Sigisbert Hugo mistakenly hopes
that by rallying to Louis XVIII in extremis he will be able to stay in the army. He is retired on half-pay.
1815 - 1824
Reign of Louis XVIII.
1820
Victor Hugo’s Ode to the Death of the Duc de Berri attracts the attention of the Court.
Louis XVIII sends him 500 francs.
1821
Death of Sophie Hugo. Léopold-Sigisbert Hugo marries his mistress, Catherine Thomas.
1822
Victor Hugo marries childhood sweetheart Adéle Foucher.
1823
TM © 1986 CMOL
Birth of Victor Hugo’s first son, Léopold-Victor.
1824 - 30
Reign of Charles X.
1824
Birth of Victor Hugo’s first daughter, Léopoldine.
1825
Victor Hugo awarded the Légion d’Honneur for services to literature.
1826
Birth of Victor Hugo’s second son, Charles-Victor.
1828
Death of General Léopold-Sigisbert Hugo. Birth of Victor Hugo’s third son, Francois-Victor.
1830
Premiere of Victor Hugo’s play, Hernani, interrupted by fist fights between admirers and detractors.
Birth of second daughter Adéle.
1830 - 1848
Reign of King Louis Philippe.
1831
Victor Hugo publishes Notre-Dame de Paris.
1832
Hugo meets Juliette Drouet. Funeral of General Lamque – hero to workers and students – degenerates into riots,
and the barricades described in Les Misérables.
1836
Applies for membership of Academie Française; fails.
1839
Second Academie Française election attempt again ends in failure.
1841
Victor Hugo finally elected to the Academie Française.
1843
Death of Léopoldine Hugo.
1845
Victor Hugo starts writing Les Misérables.
1848 - 1851
Reign of King Louis Philippe ends with uprising and Louis Napoleon becomes President of the Second French Republic
1851
2 December: Louis Napoleon dissolves Parliament, is proclaimed President with full powers for ten years, ratified
by a plebiscite. Victor Hugo leaves hastily for Brussels.
1852
Louis Napoleon proclaims himself Emperor as Napoleon III. Victor Hugo settles first in Jersey then in Guernsey.
Emperor Napoleon III establishes cordial relations with Britain.
Hugo vows not to set foot on French soil till his removal.
TM © 1986 CMOL
1852 - 1870
1853
Victor Hugo publishes poetry, Les Chaîtiments to great acclaim.
1856
Publication of more poetry, Les Contemplations.
1861
Victor Hugo completes Les Misérables.
1862
Les Misérables published in Paris and Brussels.
1868
Adéle Hugo dies.
1870
Franco-Prussian war ends with disastrous battle of Sedan. Napoleon III flees France and settles in England.
October – Victor Hugo returns to Paris, is elected a member of parliament by the Parisiens.
1871
Victor Hugo resigns from Parliament; following the death of his son, Charles-Victor, he goes to Brussels to settle
the family inheritance.
1871
April-May – Paris ‘Commune’ uprising, soon crushed, leads to appalling carnage and repression.
1871
August – From Brussels, Hugo protests against the Belgian Government’s refusal to give fleeing ‘Communards’
status of political exiles. His Brussels home is stoned and he is declared persona non grata in Belgium, moving to
Luxembourg, returning briefly to Paris, then to Guernsey to write Quatre-Vingt-Treize.
1875
Victor Hugo settles permanently in Paris and is appointed Senator.
1882
Death of Juliette Drouet.
1885
23 May – Victor Hugo dies.
1885
TM © 1986 CMOL
1 June – State funeral attended by over three million people.
ABOUT EMILE BAYARD
EMILE BAYARD was Victor Hugo’s favourite illustrator, famous in his own lifetime for his brilliant portraits of Fantine,
Éponine, Valjean and Javert, but best known today by people all over the world for “his” Cosette, used originally on the
sleeve of the French ‘Les Mis’ record in 1980, and now famous as the Les Misérables logo.
Bayard, a prolific lithographer for magazines and books (he illustrated the works of Edmond About - then a fashionable
novelist, almost as well-known as Hugo himself ), was one of the leaders of the nineteenth-century academic painting
school, somewhat unjustly known as “le style pompier”.
With infinite attention to detail, Emile Bayard worked for months on huge paintings, of which the best known are
After the Battle of Waterloo and Sedan 1870. His real talent, however, lay in his abilities as a brilliant portraitist.
In the tradition of the time, he also used his drawing skills to rework original sketches by explorers and travellers, sometimes
even transforming pictures of exotic places into lithographs. A close friend of Honorè Daumier and cartoonists such as
Paul Gavarni, Henri Monnier, Alfred Grevin, Jean-Louis Forain and Emmanuel Poiré (better known as Caran d’Ache),
he wrote about their work about spotting fakes, and identifying antiques.
Quintessentially a wealthy Parisian “society painter” with pupils and his own atelier, Emile Bayard showed a remarkable
understanding of Victor Hugo’s work as seen in his illustrations of the cast of characters in Les Misérables.
TM © 1986 CMOL
Emile Bayard
CHRONOLOGY
THE HISTORY that led to the novel, musical and the film
1845
Victor Hugo starts writing Les Misérables.
1848 - 1851
Reign of King Louis Philippe ends with uprising and Louis Napoleon becomes President of the Second French Republic.
1792
First French Republic declared.
1792 - 95
The republican “Convention”, ending in Robespierre’s “terror”.
1793
Louis XVI executed. The Royal insurgents begin their full scale civil war against the republican French Government.
Victor Hugo describes this conflict in his novel 93.
1795 - 99
“Le Directoire” becomes the first post-revolution government.
1799 - 1804
“The Consulate”; Napoleon Bonaparte takes command.
1804 - 15
French Empire; the rise and fall of Napoleon, ending with the battle of Waterloo.
1815
France becomes a monarchy again with Louis XVIII as King.
1824 - 30
The reign of Charles X.
1832
Death of General Lamarque, a hero to workers and students.
His funeral degenerates into riots, described by Hugo in Les Misérables.
1848 - 51
1852
Louis Napoleon declares himself Emperor.
Hugo urges the populace to rise against the monarch and flees the country to Belgium.
TM © 1986 CMOL
Regime of Louis Phillipe ends with uprising and Louis Napoleon becomes president of the Second Republic.
He dissolves Parliament and is given full powers for ten years.
1862
Victor Hugo publishes Les Misérables, written in exile.
1870
Louis Napoleon is forced to abdicate and is replaced by a democratically elected government.
Hugo returns to France in triumph.
1885
Hugo dies. Two million mourners pay their respects at his massive funeral.
1906
The first silent film of Les Misérables is directed in France by Albert Capellini.
1910
The first American film, Galley Slaves, is produced as a silent film, directed by James Stuart Blackton.
1935
The first American sound version is produced by Richard Boleslawski.
1980
The original arena production of the Boublil-Schönberg musical, Les Misérables, is presented at the Palais des Sports, Paris.
1985
Les Misérables opens at the Barbican Theatre in London and later transferred to The Palace Theatre before moving to its
current home at The Queen’s Theatre. It is the longest running musical production in history.
1987
Les Misérables opens at the Broadway Theatre in New York, which after a transfer to The Imperial Theatre and
6,680 performances it became the fourth longest Broadway musical when it closed in 1990.
Original production of Les Misérables opened on November 27 at the Theatre Royal before touring Australia and
New Zealand with stops in Perth; Melbourne; Adelaide; Brisbane; and Auckland.
1997
The 10th Anniversary production of Les Misérables opened in Sydney on 29 November and ran until 13 June 1998
before moving to Melbourne.
2006
Les Misérables Revival opens at the Broadhurst Theatre in New York, playing a further 496 performances or a total
of 7,176 performances with the original production, until it closed in 2008.
2009
A tour of the UK, including a special engagement in Paris, to commemorate the 25th anniversary of the show began
performances on 12 December 2009 at Wales Millennium Centre in Cardiff. The tour concluded at the Barbican in
London the following October.
2010
Les Misérables 25th Anniversary Concert was performed at The O2 in North Greenwich, London on Sunday 3 October
2012
Les Misérables film screens in New York followed by premieres in London and Sydney.
2014
Les Misérables due to open at Her Majesty’s Theatre in Melbourne, Australia in July.
TM © 1986 CMOL
Les Misérables opens at The Imperial Theatre in New York in March.
DISCUSSION TOPICS
Did you enjoy the Les Misérables?
What did you like the most?
What classic imagery was created by a combination of
the staging elements?
Was there any part of the Les Misérables you didn’t like?
Why was this?
How effective was the lighting in creating day and night
and the city streets verses indoor scenes?
Who was your favorite character/s and why?
In what way were they important to the story?
Were there elements of the production that you believe
did not work to enhance the story?
Why do you believe this and how would you have done
this differently?
Could you identify any of the characters with people you
see around you today?
Who are they and where would you find them?
Did you have a favorite Les Misérables production
number and why was it important to the story?
Did the musical choices propel or hold back the
narrative of the piece?
Would you have liked to have lived in Paris during this time?
What historical references could you see woven
throughout Les Misérables?
What elements of French culture could you identify in
the libretto, if any?
What themes do you see woven throughout the piece?
What do you think Jean Valjean and Javert, learned
about each other and themselves on the journey?
What did you learn from them?
What was the most effective element of the set?
Why do you think so?
If you were a character from Les Misérables, who would
you be and why?
Was there a particular costume or set of costumes which
stood out to you? Why was this?
Were there controversial issues raised in the piece?
Are these issues resolved or still relevant today?
How did the choreography support the story?
How well do you think staging supported the depiction
of this time and place in history?
MASTER OF THE HOUSE, QUICK TO CATCH YER EYE
NEVER WANTS A PASSERBY TO PASS HIM BY
COMFORTER, PHILOSOPHER, AND LIFELONG MATE!
TM © 1986 CMOL
SERVANT TO THE POOR, BUTLER TO THE GREAT
FACT & FIGURES
• Over 100 professional companies have opened Les Misérables worldwide.
•
Productions have played in 42 countries and 322 cities:
England, USA, Japan, Israel, Hungary, Australia, Iceland, Norway, Austria, Canada, Poland, Sweden, Holland, Denmark, New Zealand, France, Czech Republic, Spain, Northern Ireland, Eire, Scotland, Wales, Bermuda, Malta, Philippines, Mauritius, Singapore, Germany, Hong Kong, Korea, South Africa, Belgium, Finland, Argentina, Brazil, Estonia, China, Mexico, Switzerland, Serbia,
The Channel Islands and the Dominican Republic.
•
Les Misérables has been translated into 22 different languages:
English, Japanese, Hebrew, Hungarian, Icelandic, Norwegian, German, Polish, Swedish, Dutch, Danish, French, Czech, Castillian, Mauritian Creole, Flemish, Finnish, Argentinian, Portuguese, Estonian, Mexican, Spanish and Korean.
• The extraordinary film produced by Cameron Mackintosh, Working Title and Universal released in late 2012 has become a worldwide box office hit, winning 3 Golden Globe® awards
and 3 Academy Awards®.
• The production has played over 48,000 professional performances worldwide giving a total audience figure of over 65 million people.
• On 8 October 2010 the London production of Les Misérables celebrated its 25th birthday. It is the longest running musical in the world and on 1 June 2012 celebrated its 11,000th performance in London.
•
To mark the 25th birthday of Les Misérables it made history by having three productions playing in London at the same time, the original London production, the new 25th anniversary production played at the show’s original home at the Barbican for 22 performances and there was a special anniversary concert at the O2 Arena.
•
The 25th anniversary concert featured over 350 actors and musicians together with the casts
of the London and 25th anniversary productions as well as many members of the original
1985 London cast. 32,000 people attended this spectacular celebration which was broadcast
to cinemas around the world and released on DVD and Blu-Ray.
•
Les Misérables is the fifth longest running show in Broadway history after The Phantom of
the Opera, Cats, Chicago and The Lion King.
• Each performance entails some 392 complete costumes consisting of some 1782 items of
clothing and 31 wigs.
After The Show – Education Resource Pack | Activity 1
TM © 1986 CMOL
• There have been 47 cast recordings of Les Misérables (including albums, singles, symphonic and digital download albums). Both the original Broadway cast album and the Symphonic Recording won GRAMMY® Awards.
FROM PAGE TO STAGE
HERE THEY TALKED OF REVOLUTION.
HERE IT WAS THEY LIT THE FLAME.
HERE THEY SANG ABOUT TOMORROW
AND TOMORROW NEVER CAME
Les Misérables began its life on the page as a novel written in 1845, before the story was transferred into a musical theatre
libretto and the story told through its music, lyrics, staging, lighting, sound, special effects, costumes and wigs, creating Paris
on stage during the French Revolution.
QUESTIONS / DISCUSSION IDEAS
• Explore processes of transferring a story from a classic novel to the stage.
• How is the story told in the novel and how are the characters portrayed in its pages?
How is this different in the musical?
• What challenges would be faced concerning the novel’s setting and environment in translating the story
to the stage.
• How effectively is this story translated in the musical theatre production?
ASSIGNMENTS/ RESEARCH AND WRITING PROJECTS
• Research the history and the place in time of the life of Victor Hugo, the author of Les Misérables.
What role did he play in the society of the day?
• What challenges would have been faced in translating the story from the novel to a musical theatre production?
• Research other musical theatre productions which began their lives as a novel and have since been transformed into stage productions, either musicals or plays.
• Describe the properties of the entertainment mediums such as plays and musicals?
What makes them different from each other?
• What do you believe the major factors of difference in producing a musical from an original source such as a novel, as opposed to a newly created musical theatre work?
• Do you think it would be difficult to create a new musical? If so, describe the challenges you believe would be faced when creating one with and without source material from another medium?
TM © 1986 CMOL
• Identity what you believe are good stories or subject matter for the creation of new musicals?
(for example: historical events, personal stories of celebrities or sporting heros, films, television series, existing books or novels)
THE CHARACTERS
AND REMEMBER
THE TRUTH THAT ONCE WAS SPOKEN,
TO LOVE ANOTHER PERSON
IS TO SEE THE FACE OF GOD.
QUESTIONS / DISCUSSION IDEAS
• What is Hugo’s view of human nature? Is it naturally good, flawed by original sin, or somewhere between the two?
• Describe how Hugo uses his characters to describe his view of human nature. How does each character represent another facet of Hugo’s view?
• Discuss Hugo’s undying belief that man can become perfect. How does Jean Valjean’s life illustrate this belief ?
• In the end, what does Jean Valjean prove with his life?
• Javert is a watchdog of the legal process. He applies the letter of the law to every lawbreaker, without exception. Should he have applied other standards to a man like Jean Valjean?
• Today, many believe, like Javert, that no mercy should be shown to criminals. Do you agree with this? Why?
• What does Javert say about his past that is a clue to his nature?
• What finally destroys Javert? Hugo says he is “an owl forced to gaze with an eagle.” What does this mean?
• Discuss the Thénardiers as individuals living in a savage society who have lost their humanity and become brutes. Are there people in our society who fit this description?
• Compare Marius and romantic heroes of other books, plays or poems of the romantic period.
• What would Eponine’s life have been like if she had not been killed at the barricade?
TM © 1986 CMOL
• Although they are only on stage for a brief time, both Fantine and Gavroche have vital roles to play in
Les Misérables and a deep impact on the audience. What makes them such powerful characters? What do they have in common? Name some other characters from literature that appear for a short time, but have a lasting impact.
THE UNIVERSAL STORY
“YOU ARE RIGHT, SIR, WHEN YOU SAY THAT
LES MISÉRABLES IS WRITTEN FOR A UNIVERSAL AUDIENCE.
I DON’T KNOW WHETHER IT WILL BE READ BY EVERYONE,
BUT IT IS MEANT FOR EVERYONE”
Victor Hugo
QUESTIONS/ DISCUSSION IDEAS
•
Les Misérables is one of the most widely read novels of all time, and the show has been received with immense success around the world. How do you explain its great appeal to so many different kinds of audiences over more than 130 years?
• List the universal themes in Les Misérables.
• What makes a theme “universal”?
• Name some universal themes in one of the following works (or pick a classic story that is more familiar to you):
1.
Hamlet
2.
The Red Badge of Courage
3.
Great Expectations
4.
Julius Caesar
5.
The Scarlet Letter
6.
Of Mice and Men
7.
Macbeth
8.
A Tale of Two Cities
• Why have these works stood the test of time, while other works have been forgotten?
• What themes do they share with Les Misérables?
TM © 1986 CMOL
• Relate the themes of Les Misérables to events occurring in your community, or the world today.
After seeing Les Misérables, describe how it has changed the way you think about these events.
THE MISERABLE ONES:
THE HOMELESS AND THE POOR
LOOK DOWN AND SEE THE BEGGARS AT YOUR FEET
LOOK DOWN AND SHOW SOME MERCY IF YOU CAN
LOOK DOWN AND SEE THE SWEEPINGS OF THE STREET
LOOK DOWN, LOOK DOWN UPON YOUR FELLOW MAN!
THE BASIC problem central to Hugo’s work is stated in its title: Les Misérables, or “the miserable ones.” Today, we
would call them the poor, or the homeless. Poverty is an international problem which continues to grow every year.
• How do you feel about the homeless and the poor?
• Who do you feel is responsible for their problems? Themselves? The government? Society in general? Why?
• How do you think poor people feel about the way they are treated?
• In Les Misérables, the beggars sing “When’s it going to end? When we gonna live? Something’s gotta happen
now or something’s gonna give”; what do they mean by this?
• In the story of Les Misérables, what reforms does Victor Hugo indirectly or directly advocate to fight
social injustice?
• How do Hugo and the creators of the musical show the audience what social action is needed to correct
these evils?
• Each of the characters in the story deal with the problem of Les Misérables in a different way.
Describe how each of these characters see the poor:
• Jean Valjean
• The Bishop of Digne
• Javert
• Enjolras
• Thénardier
• Which of these viewpoints do you agree with? Which do you think Victor Hugo agreed with?
TM © 1986 CMOL
• Hugo attempted to convince his audience that the poor and the outcast are worth saving.
In our society, is this belief commonly held? Why or why not?
• Explore the conditions under which most common people worked in Hugo’s time. What kinds of factory conditions were they forced to endure? How do they differ from conditions workers deal with today?
Explore the influences of unions, child labour laws, and environmental protection laws.
• Alain Boublil was influenced to begin the musical of Les Misérables after the character of the Artful Dodger
in the musical Oliver! (based on Charles Dickens’ novel Oliver Twist) brought to mind a singing Gavroche.
Trevor Nunn and John Caird used techniques on Les Misérables they developed while directing Nicholas Nickleby, an adaptation of Dickens’ novel.
• Compare Dickens and Hugo as authors and social crusaders
• Compare the social problems and solutions in Les Misérables to situations addressed in works of Dickens such as: A Tale of Two Cities, Great Expectations, Hard Times, A Christmas Carol.
TM © 1986 CMOL
• Compare Victor Hugo and his work in Les Misérables with the work of one of these modern social crusaders: George Bernard Shaw, Henrick Ibsen, Arthur Miller, John Steinbeck.
CRIME AND PUNISHMENT
NOW EVERY DOOR IS CLOSED TO ME
ANOTHER JAIL, ANOTHER KEY, ANOTHER CHAIN
FOR WHEN I COME TO ANY TOWN
THEY CHECK MY PAPERS
AND THEY FIND THE MARK OF CAIN
When we first meet Jean Valjean, he has been in prison for 19 years for stealing a loaf of bread. The harsh punishment
for theft in the 19th Century was rooted in the belief that theft was a crime against the entire community and should be
punishable by extreme means, no matter how petty the crime.
• How do we think about theft in our society?
• Should all crimes be punished in the same way? Should the reason behind a crime have anything to do
with the punishment?
• Have you ever had anything stolen from you? How did it make you feel? Would it have mattered if
someone had stolen from you to feed his/her family?
• When Valjean is released from prison he is given a yellow ticket of leave, effectively branding him a criminal
to all he meets, making it impossible for him to lead a normal life again.
• How does our society treat people on parole, or ex-convicts? Are they able to lead normal lives again?
Why or why not?
• A great percentage of convicts released from prison end up back in jail soon after. Why is this, and what does
it say about our “rehabilitation” system?
• Trace the concept of crime and punishment from the 12th through the 20th Century. What can you learn
about a society from how it treats criminals?
• Do you believe we have an effective system of justice in Australia? Why or why not?
• The figure of Justice is always portrayed as being blindfolded, that is, completely blind to anything but
objective facts. Write an essay about your thoughts on “blind justice”. Is justice ever completely blind?
Is it ever completely blind in Les Misérables?
TM © 1986 CMOL
• Both Jean Valjean and Thénardier commit crimes in Les Misérables: Valjean first steals food to feed his family,
then breaks parole when he is treated like an outcast by society, while Thénardier commits fraud and robbery
for his own ends. Remember the blindfolded figure of Justice: should Valjean and Thénardier be treated
differently by the Justice system? Is there a place for mercy in the Law? How so?
REVIEWING THE PERFORMANCE
AND LITTLE PEOPLE KNOW
WHEN LITTLE PEOPLE FIGHT
WE MAY LOOK EASY PICKINGS
BUT WE’VE GOT SOME BITE
Taking part in a live musical performance as a member of the audience is a unique experience which can evoke strong
emotional responses, both positive and negative. Live performance has the power to suspend our belief, carrying us for
a short time into the onstage world before us.
• What was your experience of the production?
• What impact did the experience have on you and did you believe the story which was unfolding before you?
• What production elements assisted in your ability to believe the actions of the characters and how the
plot was pushed forward?
Prepare a review of the production incorporating observations of all the creative elements which make up the staged
production including the libretto, music and musical choices, production design, costuming, lighting, sound and performances
of the actors and their portrayal of the characters to determine the success and impact of the production on the audience.
• How did the characters develop throughout the performance? Did they push the narrative forward?
• How effective was the setting in depicting the city of Paris and the French Revolution?
• Did the staging appear to achieve its aims in creating so many diverse indoor and outdoor environments?
• How well did the costumes depict the different characters? Did they succeed in gaining the audience
attention they required in particular scenes to drawn attention to the story and environment?
• How did the music enhance the narrative and atmosphere of the work?
• How effectively did all the elements of the production support the themes and portray the story and characters.
• Was the performance of the actors in portraying the characters effective?
‘THE NEW PRODUCTION OF LES MISÉRABLES QUALIFIES
AS A TRULY EXTRAORDINARY THEATRICAL EXPERIENCE.
IT IS NOTHING LESS THAN STUNNING.
THIS PRODUCTION IS SO BREATHTAKING,
YOU SIMPLY WON’T WANT IT TO END.’
TM © 1986 CMOL
The Boston Globe
FROM STAGE TO SCREEN
JUST A CHILD WHO CANNOT KNOW
THAT DANGER FOLLOWS WHERE I GO
THERE ARE SHADOWS EVERYWHERE
AND MEMORIES I CANNOT SHARE
Les Misérables began its life as a novel written in 1845, before being adapted into film versions in 1935 and 1978, a
musical theatre libretto in 1980 and then a musical film in 2012. All four mediums depicted the time and place in
history in which the story is set, however all tell the story through different means. After seeing the musical on stage,
review the musical film.
• Explore processes of transferring a musical from the stage to the screen.
• How is the story told in the Les Misérables musical and how are the characters portrayed onstage?
How is this different in the film?
• What challenges would be faced concerning the musical’s setting and environment in translating the story
from the stage to the screen?
• How effectively is this story translated from the stage musical the musical film?
• Were any elements of the story was lost during the transfer from stage to the film? If so, can you suggest
how if could have been better incorporated?
• What challenges would have been faced in translating the story of Les Misérables from a musical theatre production to the medium of film?
• What modifications, if any were made to the film score to better tell the Les Misérables story?
• In films, close-ups are used to create intimacy and wide-shots, landscape and space. How is this different to
how the story is told in the stage musical?
• Research other films that began their lives as a novel, before being turned into a musical and have since been transformed into a musical film? How successful has this transition been artistically and commercially?
• Describe the properties stage musicals and film musicals? Identify in what ways they are similar and how
they are different.
• What do you believe the major factors of difference in producing a film from an original source such as a
novel or a musical as opposed to a newly created screenplay?
• Do you think it would be difficult to create a new musical film? If so, describe the challenges you believe
would be faced when creating one with and without source material from another medium?
TM © 1986 CMOL
• Identify what you believe are good stories or subject matter for the creation of musical films? (for example: historical events, personal stories of celebrities or sporting heros, films, television series, existing books or novels)
STAGE THIS CLASSIC MUSICAL
AT YOUR SCHOOL
THE ROLE OF MUSICALS IN EDUCATION
“PUTTING ON A SCHOOL MUSICAL IS NOT A
FRIVOLOUS THING. IT’S PART OF EDUCATION. IT REQUIRES
IMAGINATION, CREATIVITY AND INVENTIVENESS.”
Freddie Gershon, CEO of Music Theatre International (MTI)
The process of putting on a show cultivates school spirit and generates community support.
It helps students make intellectual connections across a variety of subjects.
Teachers can use the musical as context for teaching History, Science and English. Art, Music and Physical
Education classes can be geared towards creating props, learning songs and practicing dance steps.
These different areas allow students of varying strengths to join together and create something very special and
that they hold dear for the rest of their lives.
BENEFITS TO STUDENTS
The success of musicals in schools may best be measured by the self-confidence, discipline, character, cooperation
and self-esteem instilled in the children who have participated in the shows, as they master the diverse skills
necessary to present a musical.
Marked increases have been noted in student’s creativity, teamwork, leadership, responsibility and commitment.
Involvement also helps students improve their time management, communication and interpersonal skills.
LES MISÉRABLES SCHOOL EDITION (add logo)
Designed with both students and teachers in mind, Les Misérables school edition embodies a bold new idea by
creating an adaptation of this grand scale, symphonic musical in a version adapted for performance by high
school students. This adaptation, while smaller in size, retains all of the scope and glory of the original.
Released in 2002, this school edition is a great fanfare and has already become a huge success in high schools
around the world. In order to enhance the experience of both the students and teachers throughout their
production journey, the following resources are available:
• Director’s Script - with helpful technical advice
• Piano Conductor’s Score – includes orchestral cues
• Enhanced Study Guide - for interdisciplinary learning (includes reference recording CDs).
• Piano Vocal Score – for ease of rehearsing
• Production Slides – to enhance your stage presentation
• Student Libretto/Vocal Books – clearly typeset for ease of use
• Full Reference Score – get the big picture and see the entire orchestration
• Keyboard Patch Solutions – signature keyboard/synthesizer patches integral to the orchestration
• Logo Pack - includes logos in colour and black & white with multiple digital format files to add a professional touch to your advertising
TM © 1986 CMOL
•Orchextra® - a user-friendly music enhancement system capable of augmenting student musicians
• Reference Recording
•Rehearscore®Plus - is a computerised rehearsal tool with functions such as varying tempo and isolating particular vocal lines
• Sound Effects CD - enhances your production by providing the specific sounds effects you need
• Transpositions-On-Demand - you can request almost any song in virtually any key, printed in state of the art, easy to read typeset
• Video License - enables you to make video recordings (home-use only) of your production for
your archives
• 17-piece Orchestration – clearly typeset and orchestrated to a standard achievable by high
school students
OTHER SHOWS TO CONSIDER…
Miss Saigon School Edition
A classic love story is brought up-to-date in one of the most stunning theatrical spectacles of all time.
In Miss Saigon school edition, Alain Boublil and Claude-Michel Schönberg (the creators of
Les Misérables), along with Richard Maltby Jr, bring Puccini’s Madame Butterfly to the modern world in a moving
testament to the human spirit and a scathing indictment of the tragedies of war.
In the turmoil of the Vietnam War, an American soldier and a Vietnamese girl fall in love, only to be separated
during the fall of Saigon. Their struggles to find each other over the ensuing years ends in tragedy for her and a
fighting chance for the child he never knew he had.
An international sensation, Miss Saigon is an epic, daring pop opera that is universal in its emotional power even as it
deals with controversial, contemporary issues. Its sung-through pop-inflected score gives a multi-ethnic cast of strong
pop singers an opportunity to shine, in show-stopping numbers like “I Still Believe”, “Why God Why?” and “The
American Dream”. Meanwhile, its fluid cinematic structure gives directors and designers a field day.
Raw and uncompromising, Miss Saigon school edition is an intensely personal story of the losses we suffer and
the sacrifices we make in a world gone mad.
Oliver!
Oliver! is truly a masterpiece. This classic musical was adapted from the book Oliver Twist, written by
Charles Dickens. The book adaptation, music and lyrics were written by Lionel Bart and shows off his talents
at their best.
It premiered in the West End in 1960, enjoying a long run, a successful Broadway production in 1963 and further
tours and revivals. It was made into a musical film in 1968.
Oliver! tells the classic tale of orphan, Oliver Twist, who is sold to an undertaker after daring to ask for more
dinner at the orphanage. After escaping to London, he is taken in by Fagin to join his gang of child pickpockets.
Wrongly accused of a theft, he meets a more kindly gentleman who takes him in, to the concern of one of Fagin’s
old pupils, the violent Bill Sykes. In the middle is Nancy, Sykes’ girl, whom Oliver has come to trust.
This show is a sure-fire hit with such well-knows tunes as: “Food Glorious Food”, “Consider Yourself ”, “Where
Is Love”, “I’d Do Anything”, “Who Will Buy”, “Oom Pah Pah” & “Reviewing the Situation”. As one reviewer
put it, “With this show, the audience whistles the tunes as they COME IN to the theatre”.
TM © 1986 CMOL
For more information on these titles and more, visit www.halleonard.com.au
SYNOPSIS
ACT ONE
PROLOGUE: 1815, DIGNE
After 19 years on the chain gang, Jean Valjean finds that the ticket-of-leave he must display condemns him to be an
outcast. Only the Bishop of Digne treats him kindly and Valjean, embittered by years of hardship, repays him by stealing
some silver. Valjean is caught and brought back by the police and is astonished when the Bishop lies to the police to save
him. Valjean decides to start his life anew.
1823, Montreuil-Sur-Mer
Eight years have passed and Valjean, having broken his parole and changed his name to Monsieur Madeleine, has
become a factory owner and Mayor. One of his workers, Fantine, has a secret illegitimate child. When the other
women discover this, they demand her dismissal.
Desperate for money to pay for medicines for her daughter, Fantine sells her locket, her hair, and then joins the whores
in selling herself. Utterly degraded, she gets into a fight with a prospective customer and is about to be taken to prison
by Javert when ‘The Mayor’ arrives and demands she be taken to hospital instead.
The Mayor then rescues a man pinned beneath a cart. Javert is reminded of the abnormal strength of convict 24601
Jean Valjean, who, he says, has just been recaptured. Valjean, unable to see an innocent man go to prison, confesses
that he is prisoner 24601.
At the hospital, Valjean promises the dying Fantine to find and look after her daughter Cosette. Javert arrives to arrest
him, but Valjean escapes.
1823, MONTFERMEIL
Cosette has been lodged with the Thénardiers, who horribly abuse her while indulging their own daughter, Eponine,
Valjean pays the Thénardiers to let him take her away to Paris.
1832, PARIS
Nine years later, there is unrest in the city because of the likely demise of the popular leader General Lamarque, the only
man left in the government who shows any feeling for the poor. A street-gang led by Thénardier and his wife sets upon
Jean Valjean and Cosette. They are rescued by Javert, who does not recognise Valjean until he has gone.
The Thénardiers’ daughter Eponine, who is secretly in love with the student Marius, reluctantly agrees to help him find
Cosette, with whom he has fallen in love.
Cosette is consumed by thoughts of Marius, with whom she has fallen in love. Eponine brings Marius to Cosette and
then prevents an attempt by her father’s gang to rob Valjean’s house. Valjean, convinced it was Javert lurking outside his
house, tells Cosette they must prepare to flee the country.
TM © 1986 CMOL
News of General Lamarque’s death circulates in the city and a group of politically-minded students stream out into the
streets to whip up support for a revolution.
ACT TWO
The students prepare to build the barricade. Marius, noticing that Eponine has joined the insurrection, sends her away
with a letter to Cosette, which is intercepted by Valjean. Eponine decides to rejoin her love at the barricade.
The barricade is built and the revolutionaries defy an army warning to give up or die. Javert is exposed as a police spy.
In trying to return to the barricade, Eponine is killed.
Valjean arrives at the barricade in search of Marius. He is given the chance to kill Javert but instead lets him go.
The students settle down for a night on the barricade and, in the quiet of the night, Valjean prays to God to save Marius.
The next day the rebels are all killed.
Valjean escapes into the sewers with the unconscious Marius. After meeting Thénardier, who is robbing the corpses of the
rebels, he comes across Javert once more. He pleads for time to deliver the young man to hospital. Javert lets Valjean go
and, his unbending principles of justice having been shattered by Valjean’s own mercy, he kills himself.
Unaware of the identity of his rescuer, Marius recovers in Cosette’s care. Valjean confesses the truth of his past to Marius
and insists he must go away.
TM © 1986 CMOL
At Marius and Cosette’s wedding, the Thénardiers try to blackmail Marius. Thénardier says Cosette’s ‘father’ is a murderer
and as proof produces a ring which he stole from the corpse the night the barricade fell. It is Marius’s own ring and he
realises it was Valjean who rescued him that night. He and Cosette go to Valjean where Cosette learns for the first time
of her own history before the old man dies.
CREATIVE TEAM
CAMERON MACKINTOSH – Producer
For nearly 45 years Cameron Mackintosh has been producing more musicals than anyone else in history, including the
three longest-running musicals of all time, Les Misérables, The Phantom of the Opera and Cats, which are still running
extraordinarily successfully across the world. Mary Poppins, his co-production with Disney, is now also dispersing its
magic globally. His new production of Miss Saigon, which has been a hit around the world, is the longest running musical
in the history of the Theatre Royal Drury Lane and is going to open at the Prince Edward Theatre in London in May 2014
where advance ticket sales are already breaking box office records. As well as original musicals, Cameron enjoys producing
new versions of such classics as My Fair Lady and Oliver! – which all continue to be worldwide hits. Other original
international productions include Little Shop of Horrors, Side by Side by Sondheim, Martin Guerre and The Witches of Eastwick.
He also produced the most successful production ever of Stephen Sondheim’s Follies in London. Les Misérables is now the
longest-running musical in the world and, is going into its 29th year this month. The new 25th Anniversary Production
has been a huge hit all over again; currently breaking box office records across North America, Korea and Japan, and will
open in March 2014. His spectacular new version of The Phantom of the Opera, having sold out a recent UK tour, is now
embarking on a North American tour. Over the next three years, over 20 new productions of his musicals are due to
open around the world. Cameron, in conjunction with Working Title Films and Universal, has produced his first hugely
successful film, the Oscar®, Golden Globe® and BAFTA award winning Les Misérables, directed by Tom Hooper and
starring Hugh Jackman, Russell Crowe and Anne Hathaway. Cameron owns seven historic theatres in London’s West End
– the Prince of Wales, Gielgud, Queen’s, Wyndham’s, Noël Coward, Novello and Prince Edward, all of which have
undergone spectacular refurbishment, giving him the opportunity to indulge his passion for architecture and the restoration
of old buildings. He is also the co-owner of Music Theatre International, the world’s largest owner of secondary rights of
the great musicals. In the 1996 New Year’s Honours, Cameron was knighted for his services to British theatre.
CLAUDE-MICHEL SCHÖNBERG – Composer
TM © 1986 CMOL
Born in 1944 of Hungarian parents, Claude-Michel Schönberg began his career in France as a singer, writer and producer
of pop songs. In collaboration with Alain Boublil he is the book co-writer and the composer of La Révolution Française,
Les Misérables, Miss Saigon, Martin Guerre and The Pirate Queen. In 2008 his new musical, Marguerite, in collaboration with
Alain Boublil, Michel Legrand and Herbert Kretzmer opened at the Haymarket Theatre in London. Claude-Michel has
supervised overseas productions and co-produced several international cast albums of his shows. In 2001 he composed his
first ballet score, Wuthering Heights, which was created by the Northern Ballet in 2002. His ballet, Cleopatra, which opened
in 2011, was his second collaboration with David Nixon and his seventh complete score. In 2012 Claude-Michel co-wrote
the screenplay and reconceived the music for the Les Misérables musical film. Golden Globe® winner, Oscar® nominee and
recent Grammy award winner for outstanding contribution to the creative community, Mr. Schönberg married the English
ballerina, Charlotte Talbot, in 2003. He is the father of one son and two daughters.
BOOK & ORIGINAL LYRICS
ALAIN BOUBLIL – Author/Dramatist
Alain Boublil is the author of the librettos and original lyrics for the musicals, La Révolution Française (1973),
Les Misérables (1980), Miss Saigon (1989), Martin Guerre (1996) and The Pirate Queen (2006), all in collaboration with
Claude-Michel Schönberg, as well as Marguerite (2008) with Michel Legrand, Claude-Michel Schönberg and
Herbert Kretzmer. Boublil is the recipient of two Tony Awards® (Best Score and Best Book), two Grammys, two
Victoire de la Musique Awards and a Molière Award for Les Misérables. He received an Evening Standard Drama
Award for Miss Saigon and a Laurence Olivier Award for Martin Guerre. He is the author/librettist of Abbacadabra with
songs by Abba (1984), of the stage adaptation of Demy/Legrand film, Les Demoiselles de Rochefort, author of the play,
The Diary of Adam and Eve (based upon short stories by Mark Twain), and the prize-winning French novel, Les dessous de soi.
He co-wrote the screenplay and co-produced the soundtrack of the Golden Globe winning and Oscar nominated film,
Les Misérables. He has co-conceived and produces the Do You Hear The People Sing concert series, a symphonic evening
of songs from Boublil and Schönberg musicals, currently playing in major U.S. cities and touring Asia and Australia.
He recently received a New York Chapter Honors Grammy award for his outstanding contribution to the creative
community. He is currently working on a revised version of Martin Guerre to open in the UK in 2014/2015.
Alain Boublil lives in New York with his wife, actress/singer Marie Zamora, and is the father of four sons.
HERBERT KRETZMER – Lyricist
Herbert Kretzmer was born in South Africa, where he began a career in journalism writing the commentary for a weekly
cinema newsreel. He came to live in London in 1954, and has since pursued twin careers as newspaperman and songwriter.
He was feature writer on The Daily Sketch and a profile writer on The Sunday Despatch. He joined The Daily Express in
1960 and later became its drama critic, a post he held for 18 years, covering about 3,000 first nights. From 1979 to 1987,
he wrote television criticism for The Daily Mail, winning, in this capacity, two national press awards. As a lyric writer he
wrote weekly songs for That Was The Week That Was and the later Ned Sherrin television shows. He won an Ivor Novello
Award for the Peter Sellers/Sophia Loren comedy song ‘Goodness Gracious Me’. Other award-winning songs include two
written with, and for, Charles Aznavour: ‘Yesterday When I Was Young’ and the chart-topping ‘She’. Herbert Kretzmer
wrote the book and lyrics for the West End musical Our Man Crichton, which starred Kenneth More and Millicent Martin,
and the lyrics for The Four Musketeers, which ran for over a year at the Theatre Royal, Drury Lane, starring Harry Secombe
as D’Artagnan. He also supplied the lyrics for the Anthony Newley musical film Can Heironymous Merkin Ever Forget
Mercy Humppe and Find True Happiness? He was the co-lyricist for Kristina which he wrote with Björn Ulvaeus and
Benny Andersson (ABBA), premiered at Carnegie Hall, New York, in September 2009. Herbert Kretzmer’s latest work is
Marguerite, written with Michel Legrand, Alain Boublil and Claude-Michel Schönberg.
LAURENCE CONNOR – Director
TM © 1986 CMOL
Laurence’s directorial credits include: Jesus Christ Superstar (UK and Australian Arena Tour and released for DVD), the
entirely new stage production of The Phantom of the Opera (UK and US Tour), Oliver! (UK Tour) and the new version of
Miss Saigon (UK Tour and Worldwide) which received critical acclaim for two years and won the Manchester Evening
News Award for Best Touring Musical, Best New Foreign Production (Korea), Best Ensemble in a Musical (Korea)
and the Green Room Award for Best Director of a Musical (Australia). Laurence is also the Co-Director of the new
version of Les Misérables, which has enjoyed worldwide success and won awards including Best Musical at the prestigious
Manchester Evening News Awards. Laurence directed the 25th anniversary concert of The Phantom of the Opera at
the Royal Albert Hall and the 25th Anniversary concert of Les Misérables at the O2 in London both of which were
simultaneously broadcast in cinemas worldwide and subsequently released on DVD. Laurence has also been associated
with the London productions of The Phantom of the Opera (Her Majestys Theatre), Oliver! (Drury Lane), The King and I
(London Palladium) and A Slice of Saturday Night (Liverpool Empire).
JAMES POWELL – Director
James was an actor for 12 years and was appearing in Les Misérables at London’s Palace Theatre, when he was asked to
take over the position of resident director in 1996. Since that time he has worked on a variety of productions and during
that time he was staff director at the West Yorkshire Playhouse, assisting Jude Kelly on a number of projects including
the Olivier Award-winning Singin’ in the Rain, which transferred from Leeds to the Royal National Theatre in London.
On returning to London he joined Cameron Mackintosh’s production of The Witches of Eastwick at the Theatre Royal
Drury Lane as resident director. He then went to Melbourne, Australia, to direct its first foreign production for Jacobsen
Entertainment. James returned from Australia to take on the position of associate director on Les Misérables
and oversaw the show’s move from its home of many years, the Palace Theatre, to the Queen’s Theatre on Shaftesbury Ave.
He was also invited to direct a concert version of the show in Scandinavia and a full-scale production in Berlin. Whilst
maintaining his position as associate director on Les Misérables, James also worked on Cameron’s new presentation Mary
Poppins, originally in Bristol and then in London’s West End and on Broadway. In June 2008 he directed the UK tour
of Mary Poppins and in 2010 continued his association with the show directing productions in Holland and Australia.
James was delighted to renew his association with the Jacobsen Entertainment Group when they asked him to direct their
production of Dirty Dancing in London’s West End, a partnership that has seen him direct the show in Toronto, Utrecht,
Chicago, US tour and Berlin. He will direct the UK tour next year and the Broadway production thereafter. James is
delighted and honoured to be working on Cameron’s brand new production of Les Misérables, which celebrates the 25th
anniversary of a show he was involved in originally as an actor and is now part of a new creative team.
MATT KINLEY – Scenic Designer
Matt began his career working extensively as a freelance costume and prop-maker for stage, film and video at Robert
Allsopp Associates before returning to study and subsequently graduate from the Motley theatre design course in 1994.
During the 90’s he worked at the National Theatre, London, as designer, design associate and draughtsman on over
40 productions, including Jerry Springer – The Opera, The Coast of Utopia and My Fair Lady. Since leaving the National
Theatre he has worked in commercial theatre as an associate designer on many shows including The Woman in White,
My Fair Lady (UK and USA tours), Chitty Chitty Bang Bang (UK tour), Les Misérables (Broadway and Holland),
Equus (West End). As part of a long working partnership with Cameron Mackintosh Ltd, Matt has adapted the original
staging for the new version of Mary Poppins (UK/USA/Australia and Holland tours). In 2009 he was invited to redesign
Les Misérables for its 25th Anniversary production in the UK/US/Spain (winner: Best Set Designer - Premios del Teatro
Musical 2011, winner: Best Set Design – Broadway World Spain 2011) and also staged the 25th Anniversary concert
production at the O2 Arena in London 2010. As part of The Phantom of the Opera’s 25th Anniversary celebrations, Matt
designed the fully staged concert at the Royal Albert Hall in 2011. Matt continues to design for a variety of productions
both abroad and in the UK, having recently completed a two part Phantom prequel in Tokyo and the London premiere of
Jerry Herman’s Dear World. Matt is currently designing Piaf to open in Brazil autumn 2013.
Paule Constable’s theatre work includes, for the National: This House, The Curious Incident of the Dog in the Night-Time,
The Comedy of Errors, Danton’s Death, The Power of Yes, Phedre, Death and the King’s Horseman, War Horse (also Broadway;
Tony Award for Best Lighting); Waves (also international tour); …Some Trace of Her, baby Girl/DNA/The Miracle, Women of Troy,
War Horse, Saint Joan, Attempts on Her Life, The Caucasian Chalk Circle (tour and Cottesloe); Southwarf Fair, Paul, Coram Boy,
Translations, The House of Bernarda Alba, His Dark Materials (Olivier Award for Best Lighting); Play Without Words,
Three Sisters, Jumpers and Ivanov. For the RSC: As You Like It, The Prince of Homburg, The Seagull, Tales From Ovid, The Dispute,
Uncle Vanya, Beckett’s Shorts and The Mysteries. Other work in theatre includes: Clybourne Park (also West End); Posh, The City,
Krapp’s Last Tape, Forty Winks, Boy Gets Girl, Night Songs, The Country, Dublin Carol and The Weir at the Royal Court;
Love Never Dies, Oliver!, Ivanov and Evita in the West End; Dancing at Lughnasa and Moon for the Misbegotten at
The Old Vic; the 25th anniversary tour of Les Misérables; Luise Miller; The Chalk Garden (Olivier Award for Best Lighting),
The Man Who Had All the Luck, Othello, Absurdia, The Cut, Proof and Little Foxes for the Donmar; The Good Soul of Szechuan,
Generations and Vernon God Little at the Young Vic; Blasted and Oliver Twist at the Lyric Hammersmith; Don Carlos at
Sheffield Crucible and in the West End (Olivier Award for Best Lighting); and five productions for Complicite.
Opera includes: Dr Dee: an English Opera for Manchester International Festival; Carmen, Faust, Rigoletto, The Marriage of
Figaro, The Magic Flute and Macbeth for the Royal Opera House; Die Meistersinger, Billy Budd, Rusalka, St Matthew Passion,
Cosi fan tutte, Giulio Cesare, Carmen, The Double Bill and La Boheme at Glyndebourne; Don Giovanni and Anna Bolena
for the Metropolitan Opera, New York; Der Rosenkavalier, Satyagraha, La clemenza di Tiro, Gotterdammerung, The Rape of
Lucretia and Manon for ENO; Peter Grimes for Opera North; The Tales of Hoffman for Salzburg Festival; and productions
throughout Europe, North America, Australia and New Zealand. Dance includes: Dorian Gray for Matthew Bourne;
Baiser for Birmingham Royal Ballet; Seven Deadly Sins for the Royal Ballet; and Naked for the Ballet Boyz.
TM © 1986 CMOL
PAULE CONSTABLE – Lighting Designer
MICK POTTER – Sound Designer
Mick holds a BA Honours degree in Creative Design at the Central School of Art and Design London. He has designed
the sound for numerous world premiere productions including: Saturday Night Fever (London, New York and worldwide),
Starlight Express (Las Vegas, USA Tour, UK tour), Bombay Dreams (London, New York), The Woman In White (London,
New York), the largest ever production of The Phantom Of The Opera (Las Vegas), the critically acclaimed West End
production of Evita (London) Ich War Noch Neimals In New York (Hamburg, Stuttgart), Der Schuh Des Manitu (Berlin),
Zorro The Musical (London, Paris and worldwide), Andrew Lloyd Webber’s hit productions of The Sound Of Music
(London, Toronto, UK Tour) and Joseph and his Amazing Technicolor Dreamcoat (London), Sister Act (London, Hamburg,
Stuttgart), Les Misérables International 25th Anniversary Production (London, UK Tour, USA Tour and worldwide), the
world premiere of Love Never Dies (London and Australia), Andrew Lloyd Webber’s new production of The Wizard of Oz
(London, Toronto), Cameron Mackintosh’s new production of Miss Saigon (Tokyo and worldwide), Betty Blue Eyes
(London), the Les Misérables 25th Anniversary Celebration at the 02 Arena (London), The Phantom Of The Opera 25th
Anniversary Celebration at the Royal Albert Hall (London), Cameron Mackintosh’s new UK touring production of
The Phantom Of The Opera, and the Broadway revival of Evita (New York). Mick has created all new sound designs for
the London production of Les Misérables and both the London and New York productions of The Phantom Of The Opera.
Awards include the 2005 Olivier Award in the UK for Best Sound Design for the London Production of The Woman In White,
the 2006 Parnelli Sound Designer Of The Year Award in the USA for The Phantom Of The Opera in Las Vegas and the
2011 Green Room Award in Australia for Best Sound Design for Love Never Dies.
STEPHEN BROOKER – Music Supervision
TM © 1986 CMOL
Stephen Brooker has most recently held the role of musical supervisor for Mary Poppins (Australia) and Les Misérables
(Madrid). He was musical director of The Woman in White, My Fair Lady, Miss Saigon, Les Misérables, Lautrec, Cats,
The Secret Garden (RSC) and South Pacific (NT). He supervised Oliver!, My Fair Lady (USA and UK), Les Misérables
(New York revival), Cats, Hair, Miss Saigon, Dancing on Dangerous Ground, Carmen Jones, The Phantom of the Opera, Grease,
Fame, Hair, Saturday Night Fever, Peter Pan and Chess. He was musical consultant for the Les Misérables 25th Anniversary
Production and recently conducted the Classical Brit Awards (May 2011). Stephen was composer and conductor for
the original production of Burn the Floor and has written and produced music for many corporate clients, including
Coca-Cola, Walt Disney, Ford Motors, Toyota Cars, Volvo Cars, Sony Eriksson, BMW Worldwide Launch 2008 and
British Airways. He recently recorded and conducted the music for the worldwide Canon media launch. Orchestral
conducting includes: the Royal Philharmonic Orchestra, Atlanta Symphony Orchestra, West Australian Symphony,
Haifa Symphony, Bournemouth Symphony, Hamburg Sinfonia, Royal Liverpool Philharmonic, London Mozart Players,
Royal Scottish National Orchestra, London and Manchester Concert Orchestras and the Ukraine Opera and Symphony
Orchestra. He conducted the Royal Choral Society in the presence of Her Majesty The Queen. Recordings include:
Disney Film Classics and Crazy for Gershwin (BBC Concert Orchestra), studio cast recording of Hair and cast
recordings of The Secret Garden, The Woman in White and South Pacific. He recorded Michael Ball’s album This Time It’s Personal
and was orchestrator and conductor for Walt Disney’s award-winning Animator’s Palette and Cinderellabration
(Disneyland Tokyo). Stephen produced the ‘live’ recording of Oliver! starring Rowan Atkinson, the new recording of
Les Misérables (2010) and the Dutch and Australian recordings of Mary Poppins. Stephen supervised the Les Misérables
25th Anniversary Concerts (O2 Arena) as well as being Musical Producer on the hugely successful film version of Les Misérables.
ANDREANE NEOFITOU – Costume Designer
Internationally renowned costume designer Andy Neofitou’s highly acclaimed work for the Royal Shakespeare Company
over many years led to her outstanding success with Les Misérables directed by Trevor Nunn and John Caird and her
beautifully researched and detailed period costumes won her a coveted Tony Award Nomination on Broadway. In 2010
Andy continued to work on the show for the triumphant 25th anniversary performances at the O2, the new major tour of
the United States, the UK and Europe – all as the original production continues its record breaking run in the West End.
She also designed the costumes for another huge international success - Miss Saigon directed by Nicholas Hytner, which
began life at the Theatre Royal Drury Lane, and her designs for both Les Misérables and Miss Saigon continue to be seen
in the many productions world-wide. Andy’s other major costume designs in London and the West End include Grease
at the Dominion Theatre and later the Piccadilly Theatre, The Far Pavilions, Gone With The Wind and The Baker’s Wife both
directed by Trevor Nunn, Timon Of Athens at the Young Vic with David Suchet in the title role, also directed by Trevor
Nunn, Peter Pan at the Royal National Theatre directed by John Caird and the arena production of Bizet’s opera Carmen
at The Royal Albert Hall directed by Frank Dunlop. Among Andy’s many international credits are Nabucco directed by
Elijah Moshinsky for New York’s Metropolitan Opera, Miss Julie in Athens, the musical Jane Eyre directed by John Caird
on Broadway - for which she received an Outer Critics Circle Award nomination - and Cameron Mackintosh’s revised
version of Martin Guerre in the United States. Her credits with the Royal Shakespeare Company include The Changeling
directed by Michael Attenborough, Bill Alexander’s production of The Merchant Of Venice with Antony Sher, and
Fair Maid Of The West directed by Trevor Nunn for the opening of the Swan Theatre at Stratford, transferring later to
the Mermaid Theatre in London. She designed the costumes for Hedda Gabler with Glenda Jackson at the Aldwych, in
Canada and the USA; Once In A Lifetime at the Aldwych and the Piccadilly; Peter Pan, which enjoyed three separate runs
at the Barbican, and Nicholas Nickleby at Stratford and in the United States winning the Outer Circle Critics’ Award for
Outstanding Achievement in Costume Design. Among Andy’s film credits are Rosencrantz And Guildenstern Are Dead
starring Richard Dreyfuss directed by the author Tom Stoppard, and Still Life with Roger Daltrey.
CHRISTINE ROWLAND – Additional Costumes
TM © 1986 CMOL
Christine Rowland has worked in both subsidised and commercial theatre. She was resident costume supervisor at the
National Theatre for several years and head of costume at the RSC. Work for Cameron Mackintosh includes: Carousel
(London, New York and Japan); Oliver! (London, Toronto and Sydney); The Witches of Eastwick (London, Melbourne);
My Fair Lady (London, USA tour); Mary Poppins (London, New York, USA tour, Holland and Australia); Les Misérables
25th anniversary production (USA and UK tours and the O2); and Betty Blue Eyes (London). Other musicals include:
The Secret Garden (RSC London); Chitty Chitty Bang Bang (London, New York); and Gypsy (New York).
CAST
SIMON GLEESON – Jean Valjean
Stage: Love Never Dies, Mamma Mia!, Shout, Jolson, Les Misérables, Eureka, Chess Hipbone, Sticking Out, Harbour,
The Republic of Myopia (STC). UK Stage: The Far Pavilions, Imagine This (West End), Three Sides, The Silver Lake,
Certified Male, Shoes, Southwark Fair (Royal National Theatre). Film and television: City Homicide, Blue Heelers, SeaChange.
UK Film and television: EastEnders (regular), Kombat and My Life In Ruins (Playtone). Simon recently appeared in Rupert
for Melbourne Theatre Company.
HAYDEN TEE – Javert
New Zealand born, Hayden trained at NIDA and is acclaimed for his work in theatre, concert and cabaret throughout
New Zealand, Australia, UK and US. Based in New York, Hayden has appeared in nine USA productions including
Camelot (King Arthur), 1776 (Rutledge), Into the Woods (Wolf/Cinderella’s Prince) and originated the role of Jack in the
new musical Being Earnest. Other International credits include; Les Misérables (Marius) London, Cats (Gus) and leads in
Australian productions of Titanic, South Pacific, Little Women and Dead Man Walking.
PATRICE TIPOKI – Fantine
Patrice Tipoki most recently enjoyed alternating the role of Elphaba in the hit musical Wicked. She also played Nala in
Disney’s The Lion King and understudied Killer Queen, Scaramouche and Oz in the Australasian Tour of We Will Rock You.
Other music theatre credits include Anyone Can Whistle (Fay Apple), Songs for a New World, West Side Story (Maria) and
Prodigal (Maddy). Patrice toured and recorded with Sony BMG, received a BA at WAAPA and is from a very musical
family. Patrice is a proud wife and mother.
LARA MULCAHY – Madame Thénardier
Lara is an award-winning actress who has delighted audiences worldwide with her performances. A WAAPA graduate,
her theatre credits include principal roles in Mamma Mia! (Australia & London), Les Misérables, Mame, Dirty Blonde and
many more. Lara featured in three Baz Luhrmann films: Natalie in Strictly Ballroom, Mome Fromage in Moulin Rouge and
The Great Gatsby. From sharing the stage with fellow comedians in Celebrity Autobiography at the Sydney Opera House,
co-hosting the The Circle or appearing on Spicks and Spicks, Lara has enjoyed a full and varied career.
TREVOR ASHLEY – Monsieur Thénardier
TM © 1986 CMOL
Trevor Ashley made his musical theatre debut creating the role of ‘Miss Understanding’ in the world premiere of
Priscilla Queen of The Desert – The Musical. He followed this with Gale Edwards’ Jerry Springer the Opera and most recently,
he played Edna Turnblad in David Atkins’ production of Hairspray. Trevor has performed his solo shows throughout the
world. Most recently, Trevor debuted Liza On An E on London’s West End to great critical acclaim.
KERRIE ANNE GREENLAND – Eponine
A graduate of WAAPA in 2012 Kerrie Anne was cast as The Witch in Into the Woods, Smitty in How to Succeed in
Business Without Really Trying and Calliope in Xanadu. She performed the National Anthem for Cricket Australia’s
Hobart Test and was a finalist in the 2012 Cabaret Showcase in her self-produced Memoirs. In 2013 she starred in
De Lovely – A Cole Porter Celebration Concert with the Sydney Philharmonia Choirs and Orchestra at the Sydney
Opera House.
EMILY LANDGRIDGE – Cosette
Emily graduated from WAAPA in 2012, with a Bachelor of Music Theatre. While at WAAPA, Emily played Kira
in Xanadu and featured in Into the Woods, How to Succeed in Business Without Really Trying and more. Soon after
graduating, Emily made her professional debut in 2013 in Gypsy and The Pirates of Penzance with The Production
Company. Emily is thrilled to be playing her dream role of Cosette in the new Australian production of Les Misérables.
CHRIS DURLING – Enjolras
Chris graduated from the University of Ballarat – Arts Academy. Credits include: Jersey Boys (performed the roles of both
Frankie Valli and Bob Gaudio), Fame (Nick Piazza), An Officer and a Gentleman - workshop (Zac Mayo), Saturday Night
(Artie), High School Musical (Troy Bolton), John & Jen ( John), Follies (Young Buddy), Damn Yankees, My Fair Lady
(Freddy), a cabaret with Broadway composer John Bucchino and, most recently, the role of Doody in Grease.
EUAN DOIDGE – Marius
TM © 1986 CMOL
Originally from Mt Gambier in South Australia, Euan landed his first major role, Paul San Marco, in the Australian
Production of A Chorus Line, for which he was nominated as Best Supporting Actor at the 2012 Helpmann Awards.
Credits since then include The Production Company’s Anything Goes and The Producers, the Australian tour of
Legally Blonde, where he played the role of Nikos/Padamadan, and most recently the national tour of Grease.
THE MUSICAL PHENOMENON
RETURNS TO AUSTRALIA IN 2014
The acclaimed new production of Boublil & Schönberg’s legendary musical Les Misérables, with glorious new staging and
dazzlingly reimagined scenery inspired by the paintings of Victor Hugo, will premiere in Melbourne in 2014. This much
loved blockbuster musical returns to Australia after 17 years. Previews commence in June and opening night will be held
on July 3rd 2014. Tickets will go on sale to the general public on Thursday 17th October through Ticketek.
The new production of Les Misérables has been praised by critics, fans and new audiences for the last three years, breaking
box office records internationally and inspiring filmmakers to make the outstandingly successful movie which has gone on
to win three Oscar’s®, three Golden Globes® and four BAFTA’s.
Following an extensive search to find Australia’s brightest stars, Cameron Mackintosh is thrilled to reveal the talented cast
for this year’s highly-anticipated return of Les Misérables.
“Twenty-five years ago I set out to find Australia’s stars of the future for my first Australian production of Les Misérables.
It launched the careers of some of Australia’s biggest stars, like Marina Prior and Anthony Warlow, and I’m thrilled
today to announce an amazing cast of performers that I’m hoping will also become household names in the future.”
Cameron Mackintosh said.
Playing the iconic role of Jean Valjean is established actor and musical theatre star Simon Gleeson. Simon has worked
extensively in theatre, film and television in Australia and the UK, including performing in London’s prestigious West End.
Simon has been nominated for two Helpmann Awards for Mamma Mia! and Love Never Dies, a Sydney Theatre Award for
Love Never Dies and most recently a Green Room Award for Chess.
“I’m so thrilled to be playing Valjean in the new Australian production of Les Misérables,” Simon said. “With arguably the
most breathtaking score in musical theatre history, Les Misérables transformed musical theatre when it first opened. The
show remains iconic and relevant today because it deals with themes of love, courage, the human spirit and the difficult
choices we make which define who we are and what we stand for.”
NIDA-trained Hayden Tee will play Valjean’s lifelong antagonist Javert. Hayden has appeared in many musical theatre
and opera productions around the world, including Being Earnest, My Fair Lady and in 2005 he played Marius in the
20th anniversary West End production of Les Misérables.
Starring as Fantine is Patrice Tipoki. Known to Australian audiences from lead roles in The Lion King and Wicked,
Patrice has been preparing for the role of Fantine since she was a little girl. Hailing from a musical family, she first
saw Les Misérables in Brisbane at the age of 6 and ever since would perform songs from the show for anyone who
would listen.
TM © 1986 CMOL
Playing Madame Thénardier is Lara Mulcahy. Lara has appeared in countless stage, TV and film productions including
three Baz Luhrmann films, Strictly Ballroom, Moulin Rouge and The Great Gatsby. Lara won a Green Room Award for
her performance in Mamma Mia! Joining Lara in the role of the villainous Monsieur Thénardier is Australian theatre and
cabaret favourite, Trevor Ashley. Co-writer and star of the recent stage hit, Little Orphan Trashley, Trevor has appeared in
Priscilla, Queen of the Desert: The Musical, Hairspray: The Musical and Jerry Springer: The Opera.
Making her professional debut, WAAPA 2012 graduate Kerrie Anne Greenland will play Eponine with fellow graduate
Emily Langridge cast in the beloved role of Cosette. Emily was recently seen in The Production Company’s Gypsy.
Chris Durling is excited to be playing Enjolras, the passionate student leader of the revolution, in Melbourne next year.
Chris has recently performed in the Australian and New Zealand productions of Jersey Boys, Grease, as well as a member
of the popular children’s group The Crocmen with Bindi Irwin. Playing the love struck revolutionary Marius is Helpmann
Award nominated performer Euan Doidge. Euan has appeared in recent productions of Legally Blonde, A Chorus Line
and Grease.
Twenty-four of Australia’s finest talents join the Les Misérables ensemble, with the child roles of Little Cosette,
Young Eponine, and Gavroche cast in early 2014.
To coincide with the production’s premiere in Melbourne this year, the State Library of Victoria will host a world-first
exhibition, Victor Hugo: Les Misérables from page to stage. This ambitious international exhibition follows the evolution
of Les Misérables from one of the world’s greatest literary masterpieces into the most successful and beloved stage musical
of all time.
The exhibition will include original Les Misérables scripts, scores, costumes, set designs, posters, photographs and films
that will take visitors backstage and into the heart of this musical phenomenon. It reveals the Paris of Hugo’s time and
explores the events that shaped his most successful work and will display rarely seen sketches by Hugo that have inspired
the design of this 25th Anniversary Production. This exhibition is a must see for all Les Mis fans and runs from 18 July until
9 November 2014.
“Major theatre productions like Les Misérables generate significant economic benefits for Victoria, attracting thousands of
visitors from interstate and overseas,” Victorian Premier Denis Napthine said.
“We are proud that Melbourne has been chosen as the host city for this outstanding production. Sir Cameron Mackintosh
has been a great friend to Victoria and was last here with the outstanding and sell-out production of Mary Poppins a few
years ago.”
Set against the backdrop of 19th-century revolutionary France, Les Misérables is the world’s longest running musical and
has been seen by over 65 million people worldwide in 42 countries and in 22 languages, Les Misérables is undisputedly one
of the most popular musicals of all time. Having won more than 100 major awards around the world it has been hailed
as the most stirring, moving musical ever. Based on Victor Hugo’s classic novel, it is an epic and uplifting story about the
survival of the human spirit. The magnificent score of Les Misérables includes the classic songs “I Dreamed a Dream”,
“On My Own”, “Stars”, “Bring Him Home”, “Do You Hear the People Sing?”, “One Day More”, “Empty Chairs at
Empty Tables”, “Master of the House” and many more.
TM © 1986 CMOL
Cameron Mackintosh’s production of Les Misérables is written by Alain Boublil and Claude-Michel Schönberg and is
based on the novel by Victor Hugo. It has music by Claude-Michel Schönberg, lyrics by Herbert Kretzmer and original
French text by Alain Boublil and Jean-Marc Natel. Adapted by Trevor Nunn and John Caird, it has additional material by
James Fenton. The 25th Anniversary Production is directed by Laurence Connor and James Powell and designed by Matt
Kinley. Original costumes are by Andreane Neofitou, additional costumes by Christine Rowland, lighting design by Paule
Constable and sound design by Mick Potter. Executive Producer of the Australian production is Michael Cassel.
‘THRILLING, SPECTACULAR & UNFORGETTABLE’
The New York Times
‘SPLENDIDO! A COMPLETELY SPECTACULAR NEW STAGING’
El Pais Catalunya, Madrid
‘A FIVE STAR HIT,
ASTONISHINGLY POWERFUL’
The Times, UK
‘MAGNIFICENT MISÉRABLES –
ARTISTIC PERFECTION’
Le Figaro, Paris
‘THE NEW PRODUCTION OF LES MISÉRABLES QUALIFIES AS A
TRULY EXTRAORDINARY THEATRICAL EXPERIENCE. IT IS NOTHING
LESS THAN STUNNING. THIS PRODUCTION IS SO BREATHTAKING,
YOU SIMPLY WON’T WANT IT TO END.’
The Boston Globe
‘A DYNAMICALLY REIMAGINED HIT,
THIS LES MISÉRABLES HAS IMPROVED WITH AGE’
Star Ledger
‘GOBSMACKING! THIS NEW PRODUCTION OF THIS MASTERPIECE
IS REFRESHING, RETHOUGHT AND EVERY BIT AS EPIC.
NOT TO BE MISSED’
Chicago Tribune
‘THIS
STUNNING NEW VERSION
OF LES MIS’
Le Monde, Paris
‘ONE OF THE MOST MEMORABLE PRODUCTIONS
OF THE LAST 25 YEARS’
La Vanguardia, Madrid
‘THIS NEW PRODUCTION
SENDS SHIVERS DOWN YOUR SPINE’
‘THIS ACTUALLY EXCEEDS THE ORIGINAL –
LES MIS IS BORN AGAIN’
New York 1 Television
TM © 1986 CMOL
Metro Paris
LES MISERABLES AND AUSTRALIA
ORIGINAL PRODUCTION
Sydney, Theatre Royal
Melbourne, Princess Theatre Perth, His Majesty’s Theatre
Adelaide, Festival Theatre
Brisbane, Lyric Theatre 20.11.87
07.12.89
11.10.90
01.01.91
08.03.91
-
15.07.89
29.09.90
22.11.90
03.03.91
18.05.91
10TH ANNIVERSARY TOUR
Sydney, Theatre Royal
Melbourne, Princess Theatre Perth, Entertainment Centre Brisbane, Lyric Theatre 18.11.97
20.06.98
27.03.99
05.06.99
-
13.06.98
19.12.98
23.05.99
08.08.99
Sydney, Domain (Australia Day Concert) 26.01.89 – 125,000 people attended making it the biggest single live
audience to date for Les Misérables
Australian cast members in previous productions include:
Anthony Warlow, Marina Prior, Debra Byrne, the late Rob Guest, Normie Rowe, Philip Quast, Robyn Arthur,
Silvie Paladino, Rachael Beck, David Campbell, Peter Cousens and Simon Burke.
AUSTRALIAN AWARDS
SYDNEY THEATRE CRITICS CIRCLE AWARDS, 1987
Best Musical
Best Actor of the Year in a Musical (Philip Quast - Javert)
SYDNEY “MO” AWARDS
Female Music Theatre Performer (Debra Byrne – Fantine) 1988 & 1989
Male Music Theatre Performer (Philip Quast – Javert) 1988
Supporting Musical Theatre Performer (David Campbell – Marius) 1998
MELBOURNE GREEN ROOM AWARDS, 1990
Best Production (Cameron Mackintosh – Les Misérables)
Best Direction (Trevor Nunn, John Caird & Gale Edwards)
Set Design ( John Napier)
Costume Design (Andreane Neofitou)
Male Lead (Rob Guest – Jean Valjean)
Female Lead (Marina Prior – Cosette)
Male Performer in a Supporting Role (Anthony Warlow – Enjolras)
Female Performer in a Supporting Role (Robyn Arthur – Madame Thénardier)
TM © 1986 CMOL
RECORDING - ORIGINAL LONDON CAST ALBUM
Gold Disc in Australia 1989 & Double Platinum Disc in Australia 1991
LES MISÉRABLES MAJOR AWARDS
OLIVIER AWARDS, 1985
Best Actress in a Musical (Patti Lu Pone – Fantine)
TONY® AWARDS, 1987
Best Musical
Best Book (Alain Boublil, Claude-Michel Schönberg)
Best Score (Alain Boublil, Claude-Michel Schönberg and Herbert Kretzmer)
Best Director (Trevor Nunn & John Caird)
Best Featured Actress in a Musical (Frances Ruffelle – Eponine)
Best Featured Actor in a Musical (Michael Maguire – Enjolras)
Best Set Designer ( John Napier)
Best Lighting Design (David Hersey)
NEW YORK DRAMA CRITICS AWARDS, 1987
Best Musical
THEATRE WORLD AWARDS, 1987
Colm Wilkinson – Jean Valjean
Frances Ruffelle – Eponine
Michael Maguire – Enjolras
ORIGINAL LONDON CAST RECORDING
Silver and Gold Discs 1986
Platinum Disc 1988
Double Platinum Disc 1992
Triple Platinum Disc 1997
GRAMMY® AWARDS
Best Original Broadway Cast Recording 1988 and Les Misérables Symphonic Recording 1991
10TH ANNIVERSARY RECORDING
Silver Disc 1997 Gold Disc 1998
BBC RADIO 2 OLIVIER AUDIENCE AWARD
Nation’s Most Popular Musical, 2005 and 2012
GROUP LINE MUSICAL THEATRE AWARD, 2007
Favourite Musical of the Last 15 Years
WHATSONSTAGE AWARDS, 2011
25th Anniversary Production at the Barbican, Best Musical Revival
25th Anniversary Concert at the O2, Best Ensemble Performance, Theatre Event of the Year
Best Takeover in a Role (Alfie Boe – Jean Valjean)
Best Takeover in a Role (Ramin Karimloo – Jean Valjean) & Best West End Show
THE MOUSETRAP AWARDS, 2012 – Best Score, Best Musical
TM © 1986 CMOL
BROADWAYWORLD: UK AWARDS, 2011
Understudy of the Year (Scott Garnham – Enjolras)

EDUCATION RESOURCE PACK AUSTRALIAN TOUR 2014 Les Misérables – Education Resource Pack

Transcription

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