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Fiwen9430	But surely that makes it more inaccurate, I mean, hadn't they abolished the galleys by then?
Mademoiselle Lanoire	In the book, Hugo uses the terms "les galeres" and "galerien", so maybe they're taking those a bit too literally.
lesmisloony	Like most of the old movies did.
Quique	Sounds interesting but, really, they need to just lay off of further altering the music in any way. I know nothing is yet confirmed but I have a feeling they're going to not only use the gross revival orchestrations but they're probably going to add whole new intros/musical sequences in order to accommodate the new staging. The only musical sequence that I feel might be a bit out of place in the new staging is the barricade music following "On My Own." It was clearly written for the barricade's (yes, folks, the barricade has its own song, lol) morphing crawl onto the stage. Of course, that's assuming they aren't going to feature mobile barricades in this new production. Other than that, can't think of any other music that should be tampered with. Well, maybe "Runaway Cart."
eponine5	Unless they've changed anything in the last few months, they will be using the new orchestrations, unfortunately. I actually wouldn't mind that much if they altered the scene-change sequences, so to speak. (Well, as long as they're actually decent.) The show's written to fit the original staging, so it might reduce the restrictions on restaging it if some sequences were changed slightly. Nothing has to be permanent in this production, does it?
Orestes Fasting	Quique wrote: Sounds interesting but, really, they need to just lay off of further altering the music in any way. I know nothing is yet confirmed but I have a feeling they're going to not only use the gross revival orchestrations but they're probably going to add whole new intros/musical sequences in order to accommodate the new staging. The only musical sequence that I feel might be a bit out of place in the new staging is the barricade music following "On My Own." It was clearly written for the barricade's (yes, folks, the barricade has its own song, lol) morphing crawl onto the stage. Of course, that's assuming they aren't going to feature mobile barricades in this new production. Other than that, can't think of any other music that should be tampered with. Well, maybe "Runaway Cart." I would, unfortunately and reluctantly, add the post-final battle oboe solo as well. None of the regional productions I've seen seemed to know what to do with that number--even the ones that had a revolve didn't copy the original so far as to keep Enjolras draped on the flag on the other side of the barricade. Most of them cut it down to half its original length just to give the audience a quiet moment after everyone's dead; even the ones that kept the full version didn't seem to know what to do with it. There was never a dramatic moment to go with the dramatic swell of the music. I can think of a few suitably dramatic moments that could be put there (Enjolras before a firing squad comes to mind, with or without Grantaire), but in general, it seems to be another one of those moments that are very musically linked to the original staging.
Eponines_Hat	Quote: Enjolras before a firing squad comes to mind, with or without Grantaire ohhh! Just like the Brick! That would be cool.
Quique	Totally forgot about the oboe solo. As much as I hate to, I agree that it might seem out of place without the revolve. I know it was pretty awkward in the Hollywood Bowl concert. Even moreso when Gavroche moved when he was supposed to be dead, lol.
l'ivrogne transfigur�	SO... the tour opens a week on Saturday!!! Not long left! Is anyone going/does anyone know anyone who's going, who can report back? I'd love to hear what people think, and I'm not going to see it until February.
Martha Mills	Hi! Hopefully, I'll be there, although not actually got a ticket until December 24th. Definitely going to try to be there for opening night somehow! Think I will be going to see it a few more times as well. It seems that the tech rehearsals are going well at the minute, and, from what I hear, everyone (cast and crew) are VERY excited about the new production. MM
aquirkofmatter	l'ivrogne transfigur� wrote: Is anyone going/does anyone know anyone who's going, who can report back? I'd love to hear what people think, and I'm not going to see it until February. I'm going Monday 14th! I've had a really sh!t few months, so I'm really excited about it (although the Portsmouth-Cardiff trek is a bit far on crutches!) And I got Bristol closing night tickets this morning [they went on General Sale today] - 2nd row!
Elbow	I plan to go soon after Christmas. I NEED to see it.
l'ivrogne transfigur�	So far I've got tickets for Manchester, Edinburgh and Paris - one at each. I'm considering Bristol too, but it might be difficult logistically for me to get there. So excited though!
eponine5	A little more information in this interview with the JOJ: http://www.youtube.com/watch?v=_96StnygyHE
l'ivrogne transfigur�	It sounds intersting, and I think it could be a very good idea. My main worry, though, is that the 'artisticness' of the design will get overdone. The strength of the current production lies in its simplicity - I hope this is not lost in all the colour that JOJ promises.
l'ivrogne transfigur�	Sorry for the double post! John Owen-Jones wrote: These are by far the best orchestrations I've heard of the show. Sounds INCREDIBLE I hope this is a good thing! I thought they were using the broadway orchestrations though?
Eppie-Sue	So, according to WoS, this has been posted on the Broadway boards. Yeah, I don't know either: Quote: So a fried of mine just got out from seeing the opening night of the Les Mis 25th Anniversary tour in Cardiff. Changes include Prologue being set on a boat. This was a pretty well-known change, and aside from the obvious there have no been no drastic changes to the show. On to Gareth Gates. He was, apparently, really good as Marius, and friendly to meet at the stage door! ahuh.
Eponines_Hat	Eppie-Sue wrote: On to Gareth Gates. He was, apparently, really good as Marius, and friendly to meet at the stage door! I really want to hear about Jonjolras. I can still can only imagine him as Marius. I hope some reviews go up soon!
Eppie-Sue	Me too. I kind of assumed Gareth would be good, actually. Why wouldn't he be!? And Katie, JOJ and Earl are reprising their roles, so it's nothing majorly different... but Jonjolras is giving me a headache. Because I can't see it. Watching last year's videos on YouTube probably doesn't help, to be fair. But oh my.
Eponines_Hat	Eppie-Sue wrote: but Jonjolras is giving me a headache. Because I can't see it. Watching last year's videos on YouTube probably doesn't help, to be fair. But oh my. I agree! I really loved him as Marius (mainly coz he wasn't very Marius-like)... but Jon in the Vest of Doom?? I guess I just can't imagine him being intense enough - but that is probably because I have not seen him in that kind of role yet. Wonder how he will do the LiD and the Final Battle and Deadjolras.... Bet there won't be anything on YouTube for a while yet
Martha Mills	http://jonrobyns.blogspot.com/2009/12/we-have-more-fun.html Jon's blog has been updated! Saw the show last night - PHENOMENAL! Can't believe it was the very first preview. Javert's suicide was amazing! Can't wait to see it again on the 24th
Eponines_Hat	Martha Mills wrote: http://jonrobyns.blogspot.com/2009/12/we-have-more-fun.html Jon's blog has been updated! Saw the show last night - PHENOMENAL! Can't believe it was the very first preview. Javert's suicide was amazing! Can't wait to see it again on the 24th I'm sorry, but this is just not good enough! You MUST give us a full review, now! pleeeeese!!
Eppie-Sue	Oh come on. You have seen it!?! We need more. Please, please, MORE. And... Aww, Jon, he must have been so jealous of The Vest for a whole year. xD That is a lovely blog update, he's so enthusiastic.
Eponines_Hat	Quote: We have more fun... I've been reliably informed that blonde's have more fun. I can now confirm that they do. How am I in such a position to answer this question? Well, if you come to see the 25Th Anniversary production of Les Miserables, you will witness me sporting what can only be described as flaxen, flowing locks on my head. That's right, Enjolras is a Blondy! *dies*
flying_pigs	Ok, does anyone see this and immediately think, "why is Marius giving Javert a gun?!"
Eppie-Sue	We're so mean, aren't we?! But yes. Marius! Oh my God, he's blond. Blondjolras > universe. Although I also can't see that xD I need to hear more about Jon as Enjolras. And see pictures. because right now my imagination is ... complete chaos. xDDD
Martha Mills	Haha! Just to warn you that I've only seen the show in London once, so it might not be as in depth as you would probably like! However as I've only seen each version once it may make for a more balanced view? I just don't know! Will try and piece together as much as I can then I'll post it up in a bit x
Lauraa	Eppie-Sue wrote: Aww, Jon, he must have been so jealous of The Vest for a whole year. xD Haha, he was: Quote: Here's a few tip bits of inside info: 1. We begin on the convict ship "Orion". 2. We have real bails of hay in the farm section of the prologue. 3. The design incorporates more than just Hugo's writing. 4. I get to wear the piece of clothing I wanted most.
Eponines_Hat	Martha Mills wrote: Haha! Just to warn you that I've only seen the show in London once, so it might not be as in depth as you would probably like! However as I've only seen each version once it may make for a more balanced view? I just don't know! Will try and piece together as much as I can then I'll post it up in a bit x YES PLEASE!!!!! I think I am anticipating Eppie-Sue and others here.... but I really want to know: * Does Jon sing the B flat "is FRRREEEEE" in The Final Battle? Or did he shout it? * How was the Lamarque is Dead? Cant wait to read your review! So excited!
Eppie-Sue	And when you review, please tell us which London cast you have seen...!? as in, if you have seen Jon as Marius before... or if you have already seen Katie, Earl or JOJ in their roles. etc. Because I think that would give it some more depth, just for us to understand where you're coming from. : ) and aww, Jon xD
Martha Mills	The cast I saw was the current one - just last month. (I was there the night Bowman went home (thank God) after Act 1) There was a little bit of applause for LiD, I think he went for the Bb then thought, whatthehell and finished it kinda shouting, but it was very good! Ok, here it goes! A few points that I can think of: (Be warned, it won't be in any order, just whatever comes to mind!) Scenery changes very slick - they make use of projected backgrounds on the back wall, taken from Hugos paintings/drawings. This is used to great effect in the sewers, where the background comes to life! Previous posters have wondered if it would take away from the simplicity of the show, but it really doesn't. It doesn't jar or take away from anything, it's as if it has always been there. Javert's suicide = No rolling on the floor looking like a dying fly! Javert climbs onto the top of the bridge, then the bridge is flown out, leaving him in mid air being dragged into oblivion! New orchestrations = brilliant, a few small changes here and there, one I can remember at the moment is a shorter intro for IDAD. Cast are just so tight, like I said before, it was amazing that it was their first preview! Must say, Gareth was very good, he's had a lot of doubters and I'm glad to say he will prove them wrong! Of course, JOJ/Earl/Katie fabulous. Blondjonjolras is great. The wig is amazing, it looks beautiful! Thenardiers were sooo funny! Very dark, almost Sweeny Todd like! Madalena: Good strong vocals, beautiful acting. Rosalind: Very good *although she did forget the words to OMO!* Oh I remember a thread where people said what they'd like to change about the show if they could - they might have taken it on board! Fantine now has her long hair back for Epilogue and Cosette has prettily coloured new dresses! Oh, and Cosette is Blonde (which I like, as it ties in with her being Fantine's daughter) Just generally, the cast are brilliant, it really is worth seeing! Any questions, for things I may have forgotten but may have noticed - fire away! x
Lauraa	Martha Mills wrote: Ok, here it goes! A few points that I can think of: (Be warned, it won't be in any order, just whatever comes to mind!) Scenery changes very slick - they make use of projected backgrounds on the back wall, taken from Hugos paintings/drawings. This is used to great effect in the sewers, where the background comes to life! Previous posters have wondered if it would take away from the simplicity of the show, but it really doesn't. It doesn't jar or take away from anything, it's as if it has always been there. Javert's suicide = No rolling on the floor looking like a dying fly! Javert climbs onto the top of the bridge, then the bridge is flown out, leaving him in mid air being dragged into oblivion! New orchestrations = brilliant, a few small changes here and there, one I can remember at the moment is a shorter intro for IDAD. Cast are just so tight, like I said before, it was amazing that it was their first preview! Must say, Gareth was very good, he's had a lot of doubters and I'm glad to say he will prove them wrong! Of course, JOJ/Earl/Katie fabulous. Blondjonjolras is great. The wig is amazing, it looks beautiful! Thenardiers were sooo funny! Very dark, almost Sweeny Todd like! Madalena: Good strong vocals, beautiful acting. Rosalind: Very good *although she did forget the words to OMO!* Oh I remember a thread where people said what they'd like to change about the show if they could - they might have taken it on board! Fantine now has her long hair back for Epilogue and Cosette has prettily coloured new dresses! Oh, and Cosette is Blonde (which I like, as it ties in with her being Fantine's daughter) Just generally, the cast are brilliant, it really is worth seeing! This sounds brilliant! They've changed loads of the things that always annoyed me like Javert rolling around after his suicide and Cosettes costume. And I LOVE the idea about Hugos paintings/drawings as the background I really wish that I could go and see this.
Eppie-Sue	Aaaah that you very much! It sounds great! I think I really like all the changes. I do have a few questions, will go with two now, and of course they are Enjolras-related... what is Jon like? I mean... type-wise. How commanding, how ... I don't know how to describe it. Because, as I said, he's always Marius to me... And how did they do the whole Final Battle/Deadjolras sqeuence without a revolving stage?
Martha Mills	Yeah, I thought he was very commanding - really didn't look out of place as a leader. For Deadjolras, the barricade splits in two, to reveal him hanging from the cart with the flag. Oh, also, you don't see Gavroche get shot - you just hear him and see the reaction on the barricade which I thought was a brilliant change (also it means you don't get a kid who's really bad at dying! Ha!
Eppie-Sue	Martha Mills wrote: Oh, also, you don't see Gavroche get shot - you just hear him and see the reaction on the barricade which I thought was a brilliant change (also it means you don't get a kid who's really bad at dying! Ha! Oh my God. I love it. I hoped they would do that. I have been thinking about it for a while a few months ago and it seemed so much more dramatic to me. Wonderful.
Orestes Fasting	Martha Mills wrote: Oh, also, you don't see Gavroche get shot - you just hear him and see the reaction on the barricade which I thought was a brilliant change (also it means you don't get a kid who's really bad at dying! Ha! YESSSSS. Just this past week, when I saw the Copenhagen production, I kept going on to my friend about how I want to see a production where Gavroche's death takes place offstage. I didn't think it would ever happen, because it would take balls of steel on the director's part, but I always thought it would be brilliant.
Vanessa20	I am so effing excited!! God, I hope this production comes to the US, or that I can get to Europe in time to see it (stupid UCLA schedule! ) What color is Cosette's dress? And are there any other major changes to the costumes?
Martha Mills	Cosette is in a blue dress through Act 1, and I think her act 2 dress is a lilacy purple colour. Mme Thenardier's dress for the Wedding is cerise pink with marabou feathers! Marius doesn't wear a tail coat, he wears a knee length blue coat until the barricade where he just wears a waistcoat.
RWF	From WOS: Quote: The show was a massive success for its 1st preview...within seconds of finale being played the sold out audience stood to its feet. Cameron and his new creators have raised the bar once again and have taken Les Mis to a new level. The huge sets depicting scenes from factory workhouses with long tables, the paris streets with balconys, harbor settings and the opening scene on the ship look marvelous. Not to mention the clever use of projected backdrops as well as drawings by V Hugo. The sound - was superb. We have here is an open large acoustic sound not one which is condensed by use of modern digital technology. It comes alive. The sound of the orchestra is big and bold, bright and yet delicate when required. Just right. The new orchestrations are similar to those of the Dutch Production of 2008, so its very rich in texture. Not too distant from the original John Cameron version that we all know, but its small enhancements never distract you from what you may already have fixed in your memory. The case where on great form. John was superlative, as you would expect. Earl was immense. In fact all of the leads did a fantastic job. Gareth Gates did the job excellently well. His diction, which he had obviously been working on, was crystal clear and no doubt when he relaxes into the role he will flourish in the role. Nothing to worry about there - casting, as you would expect from Trevor jackson, was spot on. So, in all, a wonderful night out was had with a superb show. Its one of the best Les Mis production one will see, so you all have every right to look forward to it..... After a few run ins in Cardiff and a bit of tidying up in time for the press night and Im sure the run of this production will be very successful. And before I leave, despite a couple of tiny, and i mean tiny little flaws, as one would sometimes expect at the start of any production, they didnt distract in anyway. Im saying this because I hope nobody will have the indecency to mention them at this stage. This is a fantastic production and thank you everyone involved for making my evening so enjoyable!
Eponines_Hat	Thank you for the reviews Martha Mills! We have been speculating about the show for ages and it's great to get a bit more info on it! BTW. If you, you know, get bored and want to write, like, a really long review, I am sure that would be OK by everyone here! Thanks again for sharing the Mizzy love!
Quique	I've always liked the idea of Hugo's drawings as backdrops. Hugo was as much a visual artist as he was a literary one and it's exciting to have him set the scene in his own story. I've always loved the dark look of the original production so don't know how I'd react to pretty colored dresses and the like. I just hope they aren't "in your face" colorful. It tends to look tacky. Gavroche's death...never thought about it taking place offstage but I think it's a very interesting idea. Orchestrations...----- So far, it sounds very promising. But considering people tend to gush about anything that's new and sparkly and the fact ALL of us really, really WANT to like it, I'm going to reserve any serious judgement until I get to see some of it myself and the dust settles.
realitybites	I'm looking forward to seeing the show but as when I saw the show, was so moved by it's simplicity and artistic representation am cautious about believing anyone elses cousel! Will report back after mid-week next week.
Quique	Oh yeah, and for the sake of everyone here, can I please ask those of you who have seen it to provide as much detail as humanly possible? Torture by teasers is cruel and unusual punishment.
lovesinging	LOVE. I must see this. I hope it comes to the states! And Gavroche's death offstage=wonderful.
Martha Mills	Ok, saw it again this evening, tried my hardest to remember a few more things which are different! - Petit Gervais in the Prologue - AHFOL starts with Marius singing to Cosette who is on her balcony - No stupid hand thing in ODM as they are both on a balcony either side of the stage - When the barricade splits to reveal Deadjolras on the cart with the flag, Gavroche is on it too, and it gets wheeled off by one of the officers. - The girl playing Little Eponine gets to stay for Turning and sings "Who will wake them?" - No projections for location or date That's all I can remember for now. Otherwise - the Bb was nailed! Blondjolras is fit and the vest is very shiny! Oh, also I think they went a little bit overboard with the smoke on the Barricade this evening - couldn't really see what was going on! Haha! MM x
Vanessa20	Martha Mills wrote: - Petit Gervais in the Prologue Explain please. Do they just insert him into the blocking or is there new material? Quote: - AHFOL starts with Marius singing to Cosette who is on her balcony Talk about popular new blocking... first at Walnut Street, then at Wolf Trap (I hope I got that right) and now this! Quote: - No projections for location or date Not sure how I feel about this. The time-jumps tend to confuse first-time audience members enough as it is. By the way, are they still using the standard costumes with just a few changes (e.g. Cosette's dress), or are the costumes totally redesigned?
realitybites	I just read this and it struck fear into me as I will see the show this week: Quote: - AHFOL starts with Marius singing to Cosette who is on her balcony - No stupid hand thing in ODM as they are both on a balcony either side of the stage I asked my partner "what is the cheesiest way you can think of to portray Marius & Cossette in AHFOL? He replied"put Cossette on a balcony!" Re:dates - Quote: - No projections for location or date Why not help the audience along a bit - after all, there are probably lots of fan from a new base who might not know the story (ie SuBo followers)? Anyway, still looking forward to it.....
Martha Mills	RE Petit Gervais: He comes on after the farm bit, before the inn - and is scared off at "We do not want you here" RE AHFOL: She's only there for "A heart full of love, a heart full of song" before she goes back inside for Marius to sing "I'm doing everything all wrong" Then they're both in the garden. MM x
Lein	This sounds so good!! Pity it doesn't come near me... I've heard the new orchestrations (I've seen the Dutch production about 10 times...), and they're good!
paperstars	I'm so excited about this, I'm seeing it on opening in Manchester and on closing in Norwich (I wish I could see it more but alas I can't afford it and the venues are far away from me as it is). I was really nervous about the changes and how they might turn out, but from reading all this I have full confidence and truly cannot wait to see it for myself!
Eponines_Hat	Are there programs or production stills/photos about for this production? I need to see Blonde!Jonjolras and Cosette. The suspense is killing me!
Quique	Why is the "hand thing" in ODM between Marius and Cosette stupid? The Dutch orchestrations were a vast improvement over the lame Broadway revival ones but still 6518265965 times inferior to the originals. So, really, changing them was useless as it didn't accomplish much. But I guess there will always be people who hear that overdose of timpani and drums and think "Coooool!!" Whatever floats your boat I guess.
Quique	Good Lord. Got my hands on some audio tracks of the new tour and they've rewritten the orchestrations again. A lot of the revival's sound is still there and occasionally you briefly get the beauty of John's originals, but they've added even more drums and bass. I'm not even going to get into it because I feel my blood pressure rising but let's just say it's very (VERY) distracting. There's plenty of screamin' and hollerin' in this new production. Oh, and there's grunting. Lots of grunting, too. But it occasionally works. JOJ gives Valjean an edge early on that we haven't heard before and it's perfectly appropriate given the lousy circumstances. JOJ delivers a remarkable Soliloquy. Too bad his message is often eclipsed by the overbearing orchestration. It's late and I'll listen to more tomorrow but I will end by saying...it's unforgivable what they've done to "I Dreamed a Dream." The intro is....better off cut completely. And the song is no longer sung--it's shouted angrily. And you can tell the actress was directed to deliver it that way...I bet cause, hey, this is a *~*NEW*~* Les Mis. We can't have anything resemble the heartrending, honest, and subtly expressive original.
Elbow	I should like to hear these new orchestrations. Why hasn't anyone youtubed anything yet
Violet	I would love to hear them too. Friends went last week and couldn't praise this production highly enough, but I have to wait until next year to go. It looks like the tour will be going to North America after the UK/Paris after all. http://www.bbonyc.com/shows/lesmis/Default.htm The last known date so far is Bristol on 7th August, so Summer sounds optimistic, and there is talk of going to Ireland too. I suspect negotiations are ongoing, either that or Camac wants to wait until after press night to make further announcements.
Eppie-Sue	Okay, so, I'm really happy the tour is so well received and working with the changes they made and the cast is amazing and everything. But a small part of me thinks that the powers that be have chosen the tour to be the Alpha and Omega and are not really bothering about the West End production anymore. Why does only the tour get the full "In My Life"? The DWM Reprise? All those little things of which they obviously think that they improve it!? And the tour cast - it's wonderful that everyone thinks they're all great, but I just wish they would have shown the same enthusiasm for the West End casting. To me, it seems like they went: "Sure, we'll get two veterans for JVJ and Javert, let Cosette be played by someone who has understudied for two years, play this safe and don't let it bother us anymore NOW LET'S TALK ABOUT AMAZING CONCEPTS FOR THE TOUR." Yes, I'm awfully jealous.
Violet	I had similar thoughts when I saw the effort going into the tour, but ultimately a successful tour could help the West End out. In Cardiff tickets are like gold dust and all of the good word of mouth there and around the country will mean visitors to London will make the effort to see the show there. It is also possible that they might introduce some of the most successful and suitable adaptations to the West End in due course.
Eppie-Sue	Violet wrote: I had similar thoughts when I saw the effort going into the tour, but ultimately a successful tour could help the West End out. In Cardiff tickets are like gold dust and all of the good word of mouth there and around the country will mean visitors to London will make the effort to see the show there. The thing is, they really didn't need that. The show is selling really, really well and doesn't need the tour helping out at all... Violet wrote: It is also possible that they might introduce some of the most successful and suitable adaptations to the West End in due course. Yeah, that's what I'm hoping for, too, but only regarding the cuts being restored. But I still stand by what I wrote. It's this effort and energy put into the tour - which, of course, is lovely and apparently paying off - that could be needed at the West End. Not from the cast and crew. But just in terms of dedication and commitment and enthusiasm. Especially regarding the casting of roles... and the marketing.
l'ivrogne transfigur�	Violet wrote: I had similar thoughts when I saw the effort going into the tour, but ultimately a successful tour could help the West End out. In Cardiff tickets are like gold dust and all of the good word of mouth there and around the country will mean visitors to London will make the effort to see the show there. It is also possible that they might introduce some of the most successful and suitable adaptations to the West End in due course. Maybe I'm being super-conservative, but I love the West End production as it is (well, apart from the cuts). I really like the fact that it's the one place where the original production is more or less preserved. The various adaptations that go on, good, bad or ugly, are all very interesting, and I love to be able to see those as well. But the original London production will always have the first place in my heart. I can't wait to see the tour, and I hope it is successful, but I don't want it to fundamentally change the West End production in any way. (Particularly orchestration-wise. We need to keep the good ol' original sound somewhere.)
realitybites	Quote: Maybe I'm being super-conservative, but I love the West End production as it is (well, apart from the cuts). I really like the fact that it's the one place where the original production is more or less preserved. I totally agree with this and with the fact that DAD in the new production is appalling - I do not say that lightly.
Quique	Listened to a bit more... I like the new orchestrations for "Castle On a Cloud" and Mme. T's entrance. The "Master of the House" ones are OK, too. Except for a bit really overdone brass bits and hate the flute heard during the chorus sections. Though the originals are better still. *Hell freezes over* What's up with all the cut restorations? They should put them back in London, as well! EDIT: Heard even more... I really, really really...really, really, really miss the french horn during Enjolras' line "Do we fight for the right to a night at the opera now? Have you asked of yourselves what's the price you might pay..." It feels/sounds so...empty now. You know that f*cking awesome regal french horn in the second verse of DYHTPS? It's replaced here with a woodwind of some sort (sounds like an oboe). That tiny change downgrades the song considerably, as well as the distractingly shrill trumpet heard towards the end. They wisely kept most of the original "In My Life" orchestration in--one of my favorite orchestral pieces as well as "A Heart Full of Love." They are still hampered by the occasional addition of a distracting, shrill woodwind or horn but John's gorgeous arrangement is all there, for the most part.
paperstars	I agree with you l'ivrogne transfigur�. I'm really excited about seeing the changes done to the show on the tour, but no matter how good the changes are I'd be really put out if they changed the West End production. It's fine to experiment for a brand new production and I have no doubts that the tour is excellent, but don't mess with the show thats been going strong for 25 years. If something isn't broken, don't try and fix it. I'm really dreading hearing the orchesrations judging from whats been said here. I've not heard it yet myself as I want to see/hear as little as possible so its a surprise when I go. But I think I'm in for the wrong sort of surprise!
flying_pigs	Some audios from the tour: Red and Black: http://www.youtube.com/watch?v=k1NCWxDWKNU One Day More: http://www.youtube.com/watch?v=IBSEtPTOVUU&feature=channel And there's loads of others on there as well! Thoughts?
Oli-Ol	I'm seeing it in Norwich in February/March, can't remember exactly when. So excited!!!! I'll try to give you all my opinions but I've never seen the show before so I'm not sure how helpful I can be. Would you reccomend the tour for a first-timer or should I try my utmost to find the money to go down to London and see the 'original' show first?
riverdawn	Quote: PostPosted: Tue Dec 22, 2009 11:49 am Post subject: Some audios from the tour: Red and Black: http://www.youtube.com/watch?v=k1NCWxDWKNU One Day More: http://www.youtube.com/watch?v=IBSEtPTOVUU&feature=channel And there's loads of others on there as well! Hmm.... are those drums in Red/Black new? I don't like them. They seem to overpower the singers. Also, this may be unfair without watching the show - but just based on these recordings I have to say I'm not loving Jon Robyns as Enjolras. He sounds very.... gentle. He seems to be lacking some of the power that other Enjolrati have in their singing (yes, David Thaxton, but also other lesser Enjolrati I've heard). But it could just be the recording, and he also could grow into the role as time passes, so willing to give him the benefit of the doubt.
Violet	It's exciting to hear those recordings, and overall I like what I hear, but I think it's a bit premature to judge based on a bootleg recording from the audience, who didn't have enough cough sweets. The quality of that sort of audio is indicative only as it has too much background noise and flattens the sound. It's also come from one of the previews, right at the start of a brand new run, so I'd like to think they'd still be tweaking the balance between orchestra and actors at the very least. Oli, if you can hold out, it might be worth seeing this version first, so you are seeing it fresh without any preconceptions as to what it could have been. Most of us have seen the West End version and/or other productions, so you would have a unique insight and I'd be very interested in hearing that.
Eppie-Sue	I would like to hear a review from someone who is actually very familiar with the West End show, especially with the current production. But that's because I can't really relate to all those people who claim it's The Best Production Ever. And the FB group demanding a new full recording only with the tour cast and orchestration is simply making me sad. Just because it's all new doesn't mean it's all good. (And I really, really don't like the orchestration for Look Down... Also, so far, Rosalind James sounds to me like she's singing in a jazz club. Her voice is very... soul-y. Good, but jazzy.)
RWF	Lynne Wilmot mentioned the new recording on Twitter (she deleted it again though): LynneWilmot Beyond happy! Live album of the show to be recorded and then we return with the show to The Barbican where it all started 25 years ago!!! The second part might be the explanation to why there's no show on 8 October.
Eppie-Sue	RWF wrote: Lynne Wilmot mentioned the new recording on Twitter (she deleted it again though): LynneWilmot Beyond happy! Live album of the show to be recorded and then we return with the show to The Barbican where it all started 25 years ago!!! The second part might be the explanation to why there's no show on 8 October. No. Oh no. ---- hell, how hard can it be to make an actual Dream Cast recording? This is so unfair.
riverdawn	That IS disappointing, although I guess it's to be expected that they would think that a new recording needs to be with new orchestration etc. and so choose the anniversary tour. But yeah, if that happens, it is a bit sad.
realitybites	Reply to Eppie-sue Quote: I would like to hear a review from someone who is actually very familiar with the West End show, I have seen the London production a few times plus the Cardiff re-make and although felt that London wasn't broken,I was interested in a new look. My personal opinion is that, apart from the Victor Hugo projection, the whole production is just a nod in the direction of what made the show work - and perhaps the producers didn't understand that what made it work wasn't just the music. The London production has survived so long because it is a classic. Variations are interesting in so far as exploration of the story goes but the reason London is so successful is that, like good opera, all aspects of the production create wonderful theatre - no part of the production is mutually exclusive from the other. The London version has a quality that the tour hasn't captured because although it is 'young' - it comes across as naive and inexperienced in most aspects. I get the feeling that the producers felt they had to change the show to meet with current expectations, without realising that the reason it is all so great, is because it is great. I hope this doesn't ruin the tour for anyone, as I said, it's interesting to see a new take and I maybe exceptionally critical because London is sooooo good.but if you really want to see 'Les Mis', go to London. Happy Christmas, Les Mis fans.
Quique	With the exception of the Enjolras bit, "Red and Black" isn't too bad compared to other parts. To me, it's obvious the orchestrator sat down and tried to make everything in the original orchestration that is definitive and set into something *~*different*~* I don't think there was ever discussion on WHY it should be different or why the original orchestration by John Cameron needs to be rewritten almost 25 years later. Like I said before, some people have yet to develop a love, understanding, and familiarity for John Cameron's original score and so it's dispensable. But to us long time fans, it IS part of what makes Les Mis, well...Les Mis. It's like ripping the heart away from the show and replacing it with an artificial one. It's just...sad. Worst of all, it's gimmickery. The majority of the new arrangement is bombastic and loud. Not my idea of a truly honest approach at creating an alternate orchestral score. To me the whole original London production still playing at the Queens is utter perfection. And as much as I'd hate to see the sets, costumes, and lighting tampered with, changing the show's definitive SOUND is just WRONG. *sob*
The Very Angry Woman	Quique wrote: Worst of all, it's gimmickery. The majority of the new arrangement is bombastic and loud. Not my idea of a truly honest approach at creating an alternate orchestral score. To me the whole original London production still playing at the Queens is utter perfection. Even with the sinfonia?
Quique	OK, maybe not utter perfection...but near-perfection. Not saying it doesn't matter anymore--of course the idea of using what is essentially software instruments in place of actual musicians is just awful, but I never dreamed they'd go as far as they've gone and re-orchestrate the show...in a very annoying, amateurish, and bombastic fashion, to top it off. So the issue of the Sinfonia has largely taken a backseat but I still hate that they use it. However, I will say that it has come a long way and what it produces actually sounds half-way decent but it's still obvious to me that some of it is computer generated. And that's like a thorn in my side.
Quique	Oli-Ol wrote: Would you reccomend the tour for a first-timer or should I try my utmost to find the money to go down to London and see the 'original' show first? No. Go ahead and see the tour first. It doesn't matter because, in the end, the superior version will stand out no matter what. Who knows, you might end up liking the tour more. Or you might end up hating it. All of this venting of mine is the result of concerns that they will someday incorporate these drastic changes into the original London production. Or that since these changes are all authorized by the original creative team, there will someday be a new official version of the show, and the original we all know and love will be accessible only via memory. We all expected the original version to one day shut down for good. That's not the issue, as sad as it is. But all these changes by the original team make it seem as if they can't make up their minds and it's basically an anything goes situation. Who knows? They might end up rearranging the songs someday. They've tampered with it so much, nothing will surprise me anymore. I'm not hoping to turn people against the tour. I think it's marvelous that there is still enough interest in the show that they'd go all out in creating a new version. I'm all for it and wish it the best of luck. Just don't make it official and rewrite the history of the show. There have been countless adaptations and re-orchestrations for Show Boat (my second favorite show, btw), but the official version is still rooted in the original 1927 production. I'd be very concerned if the owners of the rights were involved in experimental versions of the show and incorporated them into official stagings.
realitybites	Quote: Or that since these changes are all authorized by the original creative team, I have just compared the programs and although the music side is the same, not all the creatives were on board for this. The set design was advertised as 'based on an idea by John Napier' - he isn't mentioned now, the costumes are the same but the sound and lighting are by new people. Not all the original creatives were in on this.Oh, and the direction - the original was by Trevor Nunn and John Caird - they are not involved either. As I said earlier ,I suspect that the contribution of the original creatives to the success of the production (the ones who have been changed) has been totally overlooked.
eponine5	Eppie-Sue wrote: RWF wrote: Lynne Wilmot mentioned the new recording on Twitter (she deleted it again though): LynneWilmot Beyond happy! Live album of the show to be recorded and then we return with the show to The Barbican where it all started 25 years ago!!! The second part might be the explanation to why there's no show on 8 October. No. Oh no. ---- hell, how hard can it be to make an actual Dream Cast recording? This is so unfair. I wouldn't say it's unfair, just disappointing. Although I'd be thrilled with a recording of John Owen-Jones and Earl Carpenter, the real loss would be the orchestrations. I completely agree with Quique about them. What worries me most is that the most recent official productions (the Dutch one and the tour) have all had the new orchestrations. It's as if they're trying to make the change permanent. I'm fine with them putting all this effort into the tour, though. It's still Les Mis and at least they seem committed the show.
realitybites	Quote: LynneWilmot Beyond happy! Live album of the show to be recorded and then we return with the show to The Barbican where it all started 25 years ago!!! Re: the possibilty of this being the celebration on October 8. It would be weird to celebrate 25 years with a production that has only been running for a few months. The production that has been running for 25 years is the original - it would be an odd thing to not have a performance for it's birthday - and cheating to show the other when it hasn't stood the test of time. I doubt they would do this as it is taking the micky out of the 25 year badge of honour.
l'ivrogne transfigur�	eponine5 wrote: Eppie-Sue wrote: RWF wrote: Lynne Wilmot mentioned the new recording on Twitter (she deleted it again though): LynneWilmot Beyond happy! Live album of the show to be recorded and then we return with the show to The Barbican where it all started 25 years ago!!! The second part might be the explanation to why there's no show on 8 October. No. Oh no. ---- hell, how hard can it be to make an actual Dream Cast recording? This is so unfair. I wouldn't say it's unfair, just disappointing. Although I'd be thrilled with a recording of John Owen-Jones and Earl Carpenter, the real loss would be the orchestrations. I completely agree with Quique about them. What worries me most is that the most recent official productions (the Dutch one and the tour) have all had the new orchestrations. It's as if they're trying to make the change permanent. I'm fine with them putting all this effort into the tour, though. It's still Les Mis and at least they seem committed the show. I'm afraid I agree with the 'unfair'. The tour cast is in no way a dream cast - which is not as a reflection on its quality. A dream cast means taking the best in each role from a variety of casts, locations etc, so as to get the best possible people in each role. And if the tour cast is indeed a dream cast, which from what I've heard I don't believe, then it does seem to reflect the points people have been making about neglect of the West End production. And tbh, much as I like Jon, I'm going to go for David Thaxton any day. (@Eppie-Sue: I came across your livejournal post earlier. I don't have an LJ account, so I didn't comment - but I love that post so much. It pretty much sums up how I feel about the whole situation )
The Very Angry Woman	I listened to a few of the clips on YouTube -- and I know I'm not an orchestration purist along the lines of Quique, but other than the percussion sounding kind of plastic, I didn't really see what the big deal was. I guess being exposed to the watered-down orchestrations in the revival will lower anyone's standards.
Elbow	RWF wrote: Lynne Wilmot mentioned the new recording on Twitter (she deleted it again though): LynneWilmot Beyond happy! Live album of the show to be recorded and then we return with the show to The Barbican where it all started 25 years ago!!! The second part might be the explanation to why there's no show on 8 October. Oh. Oh. Oh oh oh. Oh
Quique	The Very Angry Woman wrote: I listened to a few of the clips on YouTube -- and I know I'm not an orchestration purist along the lines of Quique, but other than the percussion sounding kind of plastic, I didn't really see what the big deal was. I guess being exposed to the watered-down orchestrations in the revival will lower anyone's standards. To me it sounds awfully cluttered. There's little cohesion-elements pop out randomly as if trying to make a statement but all you want to say in response is "SHUT THE HELL UP." Whereas in the original score, everything blends together, creating a distinct aural footprint that almost seems to have a life of its own. It's beautifully haunting and helps to tell the story. Much of the tour's orchestration (and the Broadway revival before it) do nothing more than inspire me to go to the bathroom.
Eponines_Hat	Elbow wrote: RWF wrote: Lynne Wilmot mentioned the new recording on Twitter (she deleted it again though): LynneWilmot Beyond happy! Live album of the show to be recorded and then we return with the show to The Barbican where it all started 25 years ago!!! The second part might be the explanation to why there's no show on 8 October. Oh. Oh. Oh oh oh. Oh oh boo to the tour recording. Mainly because IMO Thaxton needs to do the new Enjolras recording. I love Jon and this is by no means a "fangirling" decision, but the fact that he is the only actor to ever play the role in two consecutive years on the West End speaks for itself. It will be nice to have JOJ, Carpenter and Katie, I guess - but just not a dream cast which I would expect for 25th anniversary... Unless there will be a concert and a 25th anniversary concert cd too (much wishful thinking)
Eppie-Sue	Eponines_Hat wrote: but the fact that he is the only actor to ever play the role in two consecutive years on the West End speaks for itself. Well, well, not "ever" , but in a very long time, yes. I just think it's a travesty to have a performer who is easily up to par in regards of defining the character with people like Ruthie Henshall and, especially, Philip Quast (who are the ones everyone is and will be compared to) right there, playing the role, to have the opportunity to make a new, official recording - and plans to do so! - and to exclude him (and others, who have played other roles in the past years and, while I don't necessarily think they're part of my ultimate Dream Cast, deserve to be on a recording and in a 25th Anniversary Concert a lot more than most of the tour cast. Jackie Marks for example, that would be a nice nod to the TAC, because she was the Factory Bitch there). Eponines_Hat wrote: Unless there will be a concert and a 25th anniversary concert cd too (much wishful thinking) I've still got a tiny bit of hope left that this will happen. I refuse to accept that the 25th Anniversary of such a legendary show will be celebrated with a revamped version. The 25 years include Cosette's black dress (which I really don't dislike that much) and all that. And the orchestration as it's supposed to be.
Eponines_Hat	Quote: but the fact that he is the only actor to ever play the role in two consecutive years on the West End speaks for itself. Well, well, not "ever" Wink, but in a very long time, yes. You mean wikipedia lied to me??? lol and a big YES to DT defining the role and bringing Enjolras into his own as one of the the principal characters (and not just in name!) Thaxton needs to be recorded as Enjolras. Fact.
Eppie-Sue	before this turns into fangirling thread #3 Wiki and londonlesmis tell me: Quote: being the first actor in two decades to portray the role in two consecutive years. and at least there are lots and lots of not-so-official recordings out there. But oh, what I would give for a new, good quality one with a huge orchestra and with him as Enjolras. Also... Quique wrote: All of this venting of mine is the result of concerns that they will someday incorporate these drastic changes into the original London production. Or that since these changes are all authorized by the original creative team, there will someday be a new official version of the show, and the original we all know and love will be accessible only via memory. We all expected the original version to one day shut down for good. That's not the issue, as sad as it is. But all these changes by the original team make it seem as if they can't make up their minds and it's basically an anything goes situation. Who knows? They might end up rearranging the songs someday. They've tampered with it so much, nothing will surprise me anymore. THAT. Yes. Just yes.
riverdawn	Ok, this could just be a pointless question but - Is there anywhere we can actually address these concerns? I mean, for real, not just on the forum? In the past I've been a part of fandoms for obscure TV shows etc., and we managed to actually convince production companies etc. to make some changes to their plans for shows simply by virtue of extensive fan correspondence and pressure. I know we are a very very small community here, and probably we won't have much impact, but is there, maybe, say, an address to which we might be able to send polite but firm letters explaining that as fans of the show we would strongly like to see a new recording not of the tour but of the actual production that has lasted 25 years (and possibly, yes, even saying that we would strongly like to see DT recording the role of Enjolras as we feel he defines the role in a way other actors have not)? I know this is probably completely pointless and will have no effect whatsoever, but is it maybe worth doing anyway, just so we can say we did more than complain about it amongst ourselves?
Violet	I know my view won't count for much as I'm a newbie and not seen the show as often as many on here, but I know many people who have seen the show in several incarnations and again in Cardiff, and they have said the Cardiff production was their favourite. It obviously won't be the favourite for those who love every aspect of the WE version and wouldn't change a thing, but for the broader fan-base of the show, or musicals in general, a special recording of the tour that was put together specifically to celebrate the 25th anniversary makes more sense and will be easier to market. The WE show is available to watch for the forseeable future. If you missed the tour, you'll have to get the CD - that's how it will be pushed IMO. The tour has been selling out so quickly, and was doing so before the full cast was announced, so I'd place a sizeable bet that they picked a cast much better than required for ticket sales alone with a view to the proposed recording. I like live recordings from actual shows as it gives atmosphere, especially if it's a cast that have been working together. It just doesn't make sense to parachute in former cast members, no matter how good they might be. I understand the frustration for those who have been dreaming of a particular recording for years, but I have to hold my hand up and say I'm really looking forward to a recording of this tour. I realise that I'm probably out of step with many for whom things out of the WE must be inferior. I've learnt a lot from reading in here, but I think it's a shame that so much of this thread is about what the tour isn't, not what it is. From the beginning there was a presumption that as it's a regional tour it must be cheaper and smaller than London - never mind that all of the theatres as substantially bigger than Queens. Several are more than twice the size and more than three times the size in the case of the Edinburgh Playhouse. It all feels a little bit blinkered. Sorry if I've offended anyone, it's not my intention. But I do feel as if an alternative point of view is needed, and I hope that this thread can perhaps focus more on what the tour is doing, and not just how it is different to what happens at Queens Theatre eight times a week and will continue to happen all year.
The Very Angry Woman	riverdawn wrote: I know we are a very very small community here, and probably we won't have much impact, but is there, maybe, say, an address to which we might be able to send polite but firm letters explaining that as fans of the show we would strongly like to see a new recording not of the tour but of the actual production that has lasted 25 years (and possibly, yes, even saying that we would strongly like to see DT recording the role of Enjolras as we feel he defines the role in a way other actors have not)? As someone who actually tried to do something similar in the past -- I worked on petitions/letters for recordings of the Broadway 10th anniversary cast and the Australian revival cast -- don't worry about it. Save your breath, your time, and your energy. It's not worth it.
Eppie-Sue	very random note... what saddens me - actually saddens me - is that suddenly, for the tour, everything is possible. Cuts are being restored, money is invested, the cast is "handpicked" (JOJ comes back) and, from what I gather from the FB group, the recording might even be a video recording. They haven't managed to do that with the London production in 25 years. And suddenly there is the effort to do so. It's making me sick. And the tour wasn't even needed, especially NOT in the UK. And no one needed changes that basically came out of nowhere. The original production, the way it's running in London, is perfect. But suddenly, the sound is more of a "rock" sound and people go crazy over it. I don't care how well it's done: If it's not broke, don't fix it. ETA: @Violet: I see your point. But ... people are pleased easily by seeing something new and fresh and energetic, and my main problem is not that the tour exists or what it is or isn't, but that it's getting all the attention, all the hype, all the coverage, while there are people working in the West End who have been involved with the show for a much longer time, who are working as hard as everyone on the tour production, who make a 25 year old show come alive again eight times a week, who don't get any hype (except for the shitty ITV thing. Wow.)... and yes, some of the roles are cast better than on the West End (and with more consideration), but some simply aren't, and the music is perfect the way it has been played in London for all those years - and suddenly, the tour is getting all the credit and people act like the WE production is a sinking ship that has seen oh so much better days. MAYBE with half of the effort that has been put into the tour, London wouldn't have a cast where half the understudies are better than the principals, people who OWN the part they play would get the long deserved recognition and the show would be considered to be the version of Les Mis�rables.
lovesinging	Eponines_Hat wrote: IMO Thaxton needs to do the new Enjolras recording. If only for the fact I'll never actually get to see him and I want a better quality recording to run around and show all my friends, I completely agree with this statement. Eppie-Sue wrote: And the tour wasn't even needed, especially NOT in the UK. I'd be good with one in the US Except without most of the changes.
paperstars	Eppie-Sue wrote: And the tour wasn't even needed, especially NOT in the UK Hey now, thats not fair. It is not financially possible for people from all corners of the UK to get to London for whenever they'd like to see Les Mis, and for those people this tour is a blessing. I very very much love the West End version and I already know that the tour will not compare to it as the West End version is the version I fell in love with, but as I don't live near London and it costs well over �100 just to get there I get to see it very rarely. And the tour will provide me with the oppertunity to see the show I love when otherwise God only knows when I'd next get to see it. Yes I know I'm lucky to at least live in a country where the production is still running, but if you can't afford to get there to see it then that hardly matters to you much. However I do very much disagree with the tour cast being recorded for the 25th Anniversary. Theres some cast members that I'm very happy to be on it (namely JOJ, Earl and Katie), but I agree that actors more established in the roles could be chosen over the tour cast. It's a real slap in the face for those who have put so much into their role and made such a success of it (like Thaxton). And of course then theres the orchestrations issue too...
Eppie-Sue	paperstars wrote: Eppie-Sue wrote: And the tour wasn't even needed, especially NOT in the UK Hey now, thats not fair. It is not financially possible for people from all corners of the UK to get to London for whenever they'd like to see Les Mis, and for those people this tour is a blessing. I very very much love the West End version and I already know that the tour will not compare to it as the West End version is the version I fell in love with, but as I don't live near London and it costs well over �100 just to get there I get to see it very rarely. And the tour will provide me with the oppertunity to see the show I love when otherwise God only knows when I'd next get to see it. Yes I know I'm lucky to at least live in a country where the production is still running, but if you can't afford to get there to see it then that hardly matters to you much. However I do very much disagree with the tour cast being recorded for the 25th Anniversary. Theres some cast members that I'm very happy to be on it (namely JOJ, Earl and Katie), but I agree that actors more established in the roles could be chosen over the tour cast. It's a real slap in the face for those who have put so much into their role and made such a success of it (like Thaxton). And of course then theres the orchestrations issue too... The thing is, though, that there are almost no other European productions and the show has closed on Broadway. I know that it's not easy for many people in the UK to get to London and see it, but it's much easier than for almost everyone else, you see?! At least it's possible. Now we've got two productions that are both of a relatively high standard in the same country, so, automatically, there is a sort of "competition" being created, people hailing the new, fresh tour over the established West End production. It would have been better to make a new tour that is as much like the original version as possible in the US, a much, much bigger country that even with Les Mis running in NYC had a lot more people hoping it would come near their place for a while. Or an actual "international" tour. This production is just using the "international" for advertising, it's only going to Paris as far as we know. Obviously, in total agreement with the second part.
Quique	Seems people think the tour is "darker," therefore better. Just from listening to audios, the show doesn't sound darker to me at all. If the fact half the cast screams their lungs out every two seconds = "darker" then I guess it's darker then. But just how much darker can Les Mis be? The Thenardiers not being portrayed like a bunch of clowns? It's been done--Jennifer Butt and Norman Large have been there and have done that. And boy, did they do it well. So yeah, new Les Mis = darker smarker. Nah. More shouty and *~*different*~* and BOOM BOOM LOUD? Uh-huh.
Musicgirl	I found this review of first night. http://quazen.com/arts/theatre/first-night-of-les-miserables-tour/
SnowWhite4518	Hard to tell whether they liked the show or not.
Quique	Glad to see people so enthusiastically embracing it. Just shows how much of an impact the original production has had on the world for this version to be accepted so readily. And to give this version credit, from what I've heard, most of the cast sounds wonderful.
operafantomet	Eppie-Sue wrote: It would have been better to make a new tour that is as much like the original version as possible in the US, a much, much bigger country that even with Les Mis running in NYC had a lot more people hoping it would come near their place for a while. Or an actual "international" tour. This production is just using the "international" for advertising, it's only going to Paris as far as we know. Reminds of the so-called "World Tour" of Phantom, which has toured parts of Asia and Australia. It HAS visited several countries, but World Tour it ain't! And I totally agree with you.
Quique	Sometimes I envy Phantom phreaks like Anea. Cause they still have the original production, untouched and untampered with. No cuts, no Sinfonia, no nothing. Just good ol' 80's Phantom still there at the Majestic/Her Majesty's.
operafantomet	Quique wrote: Sometimes I envy Phantom phreaks like Anea. Cause they still have the original production, untouched and untampered with. No cuts, no Sinfonia, no nothing. Just good ol' 80's Phantom still there at the Majestic/Her Majesty's. On the other hand, Phantoms has gotten a rather bad movie version (2004, with Butler/Rossum) and is about to get a most unwelcome sequel... I don't see that happening in the world of Les Mis.

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