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| Thom_Boyer |
James Fenton -- what is known?Alright, I'm probably going to get a lot of flak for this, but let me get this part out of the way quickly... The English lyrics of Les Miz tend to lack a certain...cohesion or consistency, as though they were passed through several hands, which they were (as we all know). Now, common knowledge is that the bulk of the material currently performed is Herbert Kretzmer's libretto. As I recall, James Fenton never finished his, and a combination of time constraints and differences of artistic sensibilities forced Kretzmer's hiring, though Fenton still had enough material in the libretto to receive an ongoing credit for "Additional material" and, to my understanding, truckloads of royalties every year. I've always been curious as to the extent of his contribution that remains -- I seem to remember the old Making of book (whose title slips my mind) crediting "Ten Little Bullets" to him, as an example of the kind of poetry he would turn in that didn't agree with the producers' lyrical sensibilities. (Funny how that's turned out these past couple years... )
Now, my question is, what else of M. Fenton's contributions remain? I seem to remember years ago reading that the bulk of the Prologue was his work, but I've been able to find little to no information on this. Any ideas? |
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| jackrussell |
Re: James Fenton -- what is known?
I can't answer your question because I only know the same as you (about Ten Little Bullets), but it's a fascinating question. I've often wondered what a Fenton-penned Les Mis would have been like. I suspect it would have been more intellectual but maybe wouldn't have been very singable. Herbie Kretzmer did a good job but it annoys me how EVERYTHING has to rhyme. Fair enough, rhyme is expected in the set-piece songs but not in all the quasi-recitative bits as well. (And how he can lift his head in public after rhyming "dear" with "monsieur" is beyond me.) Actually I think considering the length of the show it is pretty coherent. There's not many sung-through shows with only a single lyricist (though Rent and Chess spring to mind) because of the amount of writing involved - after all, the musical themes can be (and are) repeated but the lyrics have to be different all through the show. |
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| Orestes Fasting |
I don't know what Fenton's responsible for, but I don't really like the majority of Kretzmer's lyrics. They're serviceable, but never very incisive or witty except when he was consciously trying, like in Master of the House. (And I do wonder whether Fenton had a hand in that.) And the shameless grabs for audience sympathy rankle at times.
Here's what Fenton wrote for Gavroche's solo, which I find infinitely preferable to "Little People." Most of you have probably seen it, but it's worth reproducing anyway. You thought you would notice we had nothing to eat You thought we wouldn't mind we had to sleep on the streets You thought you wouldn't bother if we drank from a ditch You thought we wouldn't wonder what had made you so rich You made up all the rules You must have thought us fools... You kicked us in the gutter and you laughed in our face You dragged us through the courtroom and you taught us our place You preached at us on Sunday looking solemn and sleek You cheated us on Monday and the rest of the week We saw the coaches passing on the way to the ball I wonder if you noticed we had nothing at all We smelt you coming out again with brandy for breath I wonder if you noticed we were starving to death Be careful as you go You don't know what we know You drove us to despair You thought we didn't care |
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| Moci |
This doesn't really answer the question, but here's a couple of notes about James Fenton in an interview by Al Sheahen with Herbert Kretzmer from 'The Barricade':
KRETZMER: Incidentally, the blueprint for what eventually became 'Empty Chairs' was initiated up by my predecessor James Fenton, who felt that the show needed a song which would allow the young survivor Marius to express his torturing grief in a deserted caf�. Fenton was also involved in mapping out the guidelines of the Prologue, beginning Valjean�s release from the chain gang, and ending with him tearing up his parole papers and vowing that 'another story must begin.' KRETZMER: Initially I was asked to team up, to collaborate, with James Fenton- English poet, much respected here- who had been working on an English-language libretto of Les Miserables for maybe a year. However, after surveying the sheer weight of work needed to get the show written and ready for rehearsal within five months, I resolved to follow a wise old rule: he travels fastest who travels alone. So I did not meet James Fenton, and still haven�t. Our paths have simply not crossed. The job Cameron asked to do involved writing a significant amount of brand new material, i.e. stuff which had not figured in the original Paris show at all, plus translating and adapting exisiting lyrics, notes and ideas -- wrestling it all into shape. In response to Orestes' wondering if Fenton had a hand in 'Master of the House', in the interview Kretzmer doesn't acknowledge him having done, but he does talk about the lyrics to the song as if they're mostly his. INTERVIEWER: The lyrics of 'Master Of the House' are extraordinary. 'Jesus' is hardly an easy name to rhyme, yet you did it six times with 'pleases', 'valises', 'geezers', 'pieces', 'increases' and 'Croesus.' How did you do it ? KRETZMER: The word 'Jesus' did not occur in my first draft at all. Trevor asked me to find a strong, sassy 'kicker' to boot the last line of each verse along. He was right. The rhymes give the song a lift. KRETZMER: I think I had the least trouble with 'Master Of The House', 'Lovely Ladies' and 'The Bargain', the song which has Valjean haggling with the Thenardiers before he takes the child Cosette away to start a new life. INTERVIEWER: What is your favourite lyric in 'Les Mis�rables'? KRETZMER: No particular favourite, though I do have a special fondness for 'Master Of The House' because it breaks the tension fairly early in the show and makes people laugh and relax. EDIT: The entire interview can be read here |
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| Thom_Boyer |
This is very helpful, actually -- I'd forgotten that the original version of the Gavroche solo had been previously published. |