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your-angle-of-music · 3 years

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Anyone want my playlist for my dream cast version of Les Miserables?

Here it is!

https://www.youtube.com/playlist?list=PLyXOfYb8cpflTuoC6FuFMwyCuD60-V0J4

It’s as close to the full show as I can get. Let me know if I miscredited anyone, am missing any major songs, or have anything listed out of order. I’m happy to be convinced that a different version of a song should reign supreme as well, so hit me up!

Song/actors list and explanations under the cut.

1. Overture/Work Song - Colm Wilkinson as Jean Valjean, Terrence Mann as Javert (Original Broadway)

It’s a big, bombastic, awesome beginning. I definitely vibe with the especially over-the-top synth and these particular convicts’ generally growly, desperate tone. Wilkinson’s Valjean, eternally my favorite, doesn’t seem feral like some versions I’ve seen, but rather like he’s trying so hard to just be good and get through this and keep it together, until he snaps a bit at “My name is Jean Valjean” and the way he acts that gives me chills. Mann’s Javert seems more cold than over-the-top aggressive, which I always like, although he doesn’t stick out thaaat much to me.

2. On Parole/The Bishop - Colm Wilkinson as Jean Valjean, Paul Monaghan as Bishop Myriel (10th Anniversary)

I love everything about Wilkinson’s Valjean’s “freedom is mine” bit. His unique diction and his perfect tenor-ness and the hope in his voice...yeah. The way he hits and holds that “fliiiiiiiight” note is also pretty perfect. It sounds like the scream he was holding in the whole time he was in prison. I also appreciate Monaghan’s Bishop’s sudden earnestness at the “But remember this, my brother” part and the way he holds that last low “I have bought your soul for God.”

3. Prologue/What Have I Done? - Colm Wilkinson as Jean Valjean (Original London)

Wilkinson’s Valjean seems to make the beginning part properly fast and frantic, then switches to a gentle, heartwrenchingly vulnerable tone, then his absolutely anguished “this is all I have known.” As always, he excels at those high notes and long notes.

4. At the End of the Day - Lea Salonga as Fantine, Alfie Boe as Jean Valjean, Jeff Nicholson as the Factory Foreman (25th Anniversary)

All the women here sound so angry, at everyone and everything, and it’s pretty great. Honestly, it was Nicholson’s factory foreman here that really caught my ear, with his nasty “oi!” after the “and in a bed” line and his frankly terrifying “on your way!”. I like Salonga’s Fantine’s note of desperation, although she honestly could sound a little angrier. This track includes a tiny bit of the beginning of “I Dreamed a Dream” and then cuts off — sorry about that.

5. I Dreamed a Dream - Maureen Moore as Fantine (1988)

Something about this recording makes it sound like it’s much older than it is, and that slightly echoey sound makes it sound all the more haunting. A lot of Fantines sound enraged here, and I like that too, but something about Moore’s just utter sadness and vulnerability just sells it for me like no one else can. She sounds so young, because Fantine is. And then the way she belts “shame” is perfection. The way she goes from quiet and gentle at the beginning to desperate belting at the end and then the soft last lines murders my soul every time.

6. Lovely Ladies - Randy Graff as Fantine (Original Broadway)

Honestly...I haven’t found a version of this song that I love yet. There’s still this air of humor to it that feels incongruous at best and mean-spirited at worst. But I really like the worn-out, older sounding voices of a lot of the women singing to Fantine, and Graff’s Fantine’s anguish and slightly breaking voice is definitely good, as is her “don’t they know they’re making love to one already dead?”

7. Fantine’s Arrest - Caissie Levy as Fantine, Nathaniel Hackmann as Jean Valjean, Earl Carpenter as Javert (2014)

I love Levy’s Fantine here, with her fear and her fierceness. The way she spits out that “even a whore who’s gone to the bad won’t be had by a rat” is perfect in every way, as is her pleading after. Carpenter’s Javert has a lovely bass and is also cold and punchable, as all Javerts should be. This is one of the only songs on this playlist I have a video for, and I appreciate the blocking; the women crowding around Fantine and then fleeing, and the way Hackmann’s Valjean keeps his distance from Fantine and generally radiates respect and tenderness.

8. The Runaway Cart - Colm Wilkinson as Jean Valjean, Terrence Mann as Javert (Original Broadway)

Thank you @lesbianrung for this recommendation! The ensemble sounds frantic and scared here, sometimes screaming more than singing, but for a chaotic scene like this, it works. Mann’s Javert is more reserved here than some I’ve seen, a bit more like the authority-fearing, self-loathing Brick Javert. Wilkinson’s Valjean sounds like a wreck when he’s begging someone to help him lift the cart, does a great little nervous laugh on “say what you must, don’t leave it there,” and belts his “how can you be sure that I am not your man” to excellent effect.

9. Who Am I? - Colm Wilkinson as Jean Valjean (Original Broadway)

Hey quick question did I mention that I love Colm Wilkinson? God that tormented shiver in Valjean’s voice...the softness of that last “I am damned”..his buildup up to “I’m Jean Valjean”...the way he hits that last “two-four-six-oh-oneeeeeeee”...yeah no there is one (1) Jean Valjean and that is Colm Wilkinson.

10. Come to Me/Fantine’s Death - Ruthie Henshall as Fantine, Colm Wilkinson as Jean Valjean (10th Anniversary)

Henshall’s Fantine sounds so gentle yet so powerful here. The way she sings “I will sing you lullabies and wake you in the morning” absolutely shatters me and always will.Her belting sounds beautiful and clear and perfect, vulnerable yet strong. The way she fades out on her last word, “wake,” is utterly haunting. Wilkinson’s Jean Valjean sounds soft and caring, and the way he half-breathes a lot of the words is. Oh.

11. The Confrontation - Colm Wilkinson as Jean Valjean, Philip Quast as Javert (10th Anniversary)

Quast’s Javert has a true bass quality that really, really works, like in the way he says “you’ll wear a different chain.” In general, the way he seems to bite off his words and the steely determination of his voice is perfect. He balances really well with Wilkinson’s Valjean who, for the first time, sounds scary, but can switch to softness for the dead Fantine. The last “I will be there” is excellent all-around.

12. Castle on a Cloud - Zoë Hart as Little Cosette (Original London)

Hart’s Little Cosette is insanely good! She really does sound like a little kid and still has awesome acting and she’s in tune! Her “there is a lady all in white, holds me and sings me a lullaby” bit is heartbreaking.

13. Master of the House - Barry James as M. Thenardier, Gay Soper as Mme. Thenardier (International Symphonic)

James and Soper are my favorite Thenardiers of all time, by far. I like this longer version that mentions M. Thenardier’s Waterloo shenanigans. James’ Thenardier sounds gleefully evil, and I like his whispery, growly tone or rowdy almost-shouting. You can absolutely hear his nasty grin. His affected r-rolling also reminds me a lot of the Brick characterization. Soper’s Mme. Thenardier has a weasely quality to her voice that seems appropriate, but she does not shy away from the ruder lines (”lifelong shit,” “not much there,” “up the master’s ass,” etc.) and she, like her husband, seems to be having a lot of fun and lapping up the attention. I adore how she delivers her “bastard in the house” line.

14. The Bargain/Waltz of Treachery - Barry James as M. Thenardier, Gay Soper as Mme. Thenardier, Gary Morris as Jean Valjean, Marissa Dunlop as Little Cosette (International Symphonic)

Morris’ Valjean and Dunlop’s Little Cosette’s “la la la la la la la la” harmony is amazing and tender and adorable and may or may not make me cry which is not supposed to happen before Act II. Morris’ delivery of his “now her mother is with God” and “I stand here in her place” lines is powerful, too. The Thenardiers sound delightfully sleazy and dramatic, too. I like that Morris’ Valjean sounds actually angry at them, unlike many others I’ve seen. I almost have to admit though, I miss the movie version of the final lines, where they had “Will you be like a papa to me?”/”Yes Cosette, yes it’s true, I’ll be father and mother to you,” while here, like in other stage shows, they have “Will there be castles and children to see?”/”Yes Cosette, yes it’s true, there’s a castle just waiting for you” because 1) I like Valjean’s father and mother role that Hugo kept talking about in the Brick, and 2) in the musical, it seemed pretty clear that there weren’t actually any other children around Cosette until Marius showed up!

15. Suddenly - Hugh Jackman as Jean Valjean (2012 movie)

Yes, I’m including this song from the movie. Honestly, I don’t like the song itself that much, and I don’t think Jackman’s Valjean has the strongest voice, although his acting is extremely sweet, and when he almost whispers “full of light” and “like the sun” I definitely almost lose it. But I’m mainly including this song because the musical really did need a song that fills this role. The stage musical devotes a weirdly small amount of time to Cosette and Valjean’s relationship, considering that it drives Valjean’s actions for the rest of the story and it is central to the Brick (and one of my favorite parts of it, too). This is the first time that Valjean has ever felt truly loved in his life! Something suddenly HAS begun!

16. Look Down - Ross McCall as Gavroche, Anthony Warlow as Enjolras (International Symphonic)

I fell in love with this version because of the ensemble, honestly. It started out loud and powerful and strong, even more so than the Overture/Work Song bit. McCall’s Gavroche is beyond perfect, though. He is strong and sassy, and angry too, more than most Gavroches in the beginning, but he also sounds so young! Warlow’s Enjolras has an incredibly powerful voice as well, and makes a pretty awesome first impression.

17. The Robbery - Carrie Hope Fletcher as Eponine Thenardier, Rob Houchen as Marius Pontmercy, Cameron Blakely as M. Thenardier, James Gant as Javert (2013)

This is another song I’ve got the blocking for. It’s pretty standard, although I always like when a Marius, like Houchen’s, gets involved in the Fray to defend Cosette. I love the dynamic between Fletcher’s Eponine and Houchen’s Marius, with affection and teasing and care, and their little smiles and head shakes, but also with a bit of discomfort on Marius’ end — he seems a little awkward about trying to get his books back with minimal contact, and he seems to be deflecting the “I like the way you grow your hair” thing as nicely as he can, but definitely deflecting. Blakely doesn’t make much of an impression as Thenardier (although his “told you so” is really funny), and Gant is not my favorite Javert, but Fletcher’s “It’s Javert” is ridiculously awesome.

18. Stars - Philip Quast as Javert (10th Anniversary)

Quast’s Javert is...yeah, what else is there to say?

19. Eponine’s Errand - Kaho Shimada as Eponine Thenardier, Michael Ball as Marius Pontmercy (International Symphonic)

I wish this recording weren’t missing Gavroche’s little part beforehand, but I think Shimada’s Eponine and Ball’s Marius are worth the trade-off. Shimada sounds a little softer and sadder here, not angry like in some versions, which I don’t mind. But when she sees Marius, she switches to determinedly playful which is all the more heartwrenching. And her “I don’t want your money, sir” hurts. Ball’s Marius’ voice is nice and lovestruck and also not softening his single-minded obliviousness. I like his gentle desperation at his “Eponine, do this for me.” I also like that the lyric here is “don’t let her father know” instead of “don’t let your father know.”

20. Red and Black - Eddie Redmayne as Marius Pontmercy, Aaron Tveit as Enjolras, George Bladgen as Grantaire (2012 movie)

Embarrassing as it is to admit, Eddie Redmayne is my favorite Marius. He’s emotional and, well, a noodle, but also very sweet and sings well and has a higher, lighter voice than most Marii I’ve seen. He’s young! They’re all so young! And I like that Tveit’s Enjolras feels a lot less shouty here ; it's more accurate to Brick descriptions of his interactions with his friends, and reflects his kind of angelic vibe. And I definitely appreciate that Bladgen’s Grantaire’s mocking is a little softer here — he knows a thing or two about impossible love. I do love his little laugh when he says “it is better than an opera.” And that last “they will come when we call” makes me feel things.

21. Do You Hear the People Sing? - Michael Maguire as Enjolras (Original Broadway)

Sometimes you need an angelic Aaron Tveit, and sometimes you need a powerhouse Michael Maguire. Damn.

22. In My Life - Judy Kuhn as Cosette, David Bryant as Marius Pontmercy, Frances Ruffelle as Eponine Thenardier, Colm Wilkinson as Jean Valjean (Original Broadway)

Kuhn’s Cosette has such a sweet voice, and you can hear her quiet fierce excitement in the beginning. She manages to sing Cosette’s high notes with softness and gentleness really well for the most part, although I’m not that fond of the sound on her “does he know I’m alive? do I know if he’s real?” high notes. Wilkinson’s Valjean seems gentler than some of the others I’ve seen, even on the “no more words” bit, and a lot of his negative emotion seems to be directed inward. Bryant’s Marius is in love, and sounds perhaps a bit too confident and a bit too old for my taste. No, what really stands out here is Frances Ruffelle’s Eponine. God, I love Frances Ruffelle’s Eponine. Starting off strong with that agonized “every word that he says is a dagger in me,” she sounds so young, with an almost-whiny, heartwrenching edge that reminds me the most of her Brick characterization, but she gets so gentle on her last “waiting here.”

23. A Heart Full of Love - Katie Hall as Cosette, Gareth Gates as Marius Pontmercy, Rosalind James as Eponine Thenardier (2010)

This recording picks up with James’ Eponine’s “waiting here,” definitely an interesting comparison. She sounds awesome throughout this piece, with a lovely warm alto voice. And I love love LOVE Katie Hall’s Cosette, with all her strength and sweetness. God, you can hear her smiling. She shines the most when she sings her softest lines, like “no fear, no regret,” “I'm awake,” and the last “after all.” Gates’ Marius is incredibly charming, but still absolutely an awkward mess, and you can hear him dying inside when he says “oh God, for shame, I do not even know your name.” The balance between all three of their voices is perfect.

24. Plumet Attack - Frances Ruffelle as Eponine Thenardier, Bernard Leo Burmester as M. Thenardier (Original Broadway)

Burmester’s Thenardier is properly scary here. Once again Ruffelle’s Eponine steals the show, belting all of her lines perfectly. Her “told you I’d do it” is haunting and perfect and brave in that oh-so-Eponine way, with a hint of petulance.

25. One Day More - Colm Wilkinson as Jean Valjean, Terrence Mann as Javert, Judy Kuhn as Cosette, Davis Bryant as Marius Pontmercy, Frances Ruffelle as Eponine Thenardier, Bernard Leo Burmester as M. Thenardier, Jennifer Butt as Mme. Thenardier (Original Broadway)

Everyone starts out so soft, and they make this song build so perfectly and balance each other out impeccably. Ruffelle’s Eponine’s “one more day all on my own” bit rises above it all, and her voice sounds so clear and powerful and good. Also did you hear that loud and long “one day more!” out of Wilkinson’s Valjean? And Les Amis’ triumphant swelling chorus? Everyone here is superhuman, I swear.

26. Building the Barricade (Upon These Stones) - Michael Ball as Marius, Kaho Shimada as Eponine Thenardier, Anthony Warlow as Enjolras, Philip Quast as Javert (International Symphonic)

It’s mistitled as “At the Barricade” but I pinky promise it’s not. Ball’s Marius sounds genuinely concerned and touchingly pissed. Shimada’s Eponine is sweet and playful, and her “little you know, little you care” has very little bite, which I’m not sure I like. What I absolutely adore, though, is the bit where she delivers Marius’ letter to Morris’ Valjean. Shimada sounds suddenly shy, and Morris seems in full adopting mode. Something about this exchange just feels incredibly sweet to me. And then when Morris reads Marius’ letter, and his little pause in the “you love me as well” part is perfection.

27. On My Own - Frances Ruffelle as Eponine Thenardier (Original Broadway)

What can I say? Ruffelle’s Eponine absolutely kills it. She has a lovely husky voice that sounds sweet and sad and angry and powerful and broken all at once. I love the way she sings “in the rain, the pavement shines like silver” and “and I know it’s only in my mind, that I’m talking to myself and not to him” and “all my life I’ve only been pretending” and of course that “a world that’s full of happiness that I have never known.” The way she builds up from sweet fantasizing to absolute anguish...and then she breathes out those last “I love him”s and she sounds like the teenager Eponine is. God. I need a moment. Or several.

28. Javert at the Barricade - Terrence Mann as Javert, I can’t find the Gavroche which enrages me to no end (Original Broadway)

Mann’s Javert isn’t as dramatic as I’d like, but I’m here for Gavroche. I do miss the Les Amis dialogue that happens in newer versions of this song, but the older version of this song, which includes a lot more of “Little People” is better in my opinion because it makes Gavroche’s death scene all the sadder. I adore this particular Gavroche’s sassiness and spunk and his powerful voice.

29. A Little Fall of Rain - Frances Ruffelle as Eponine Thenardier, Michael Ball as Marius Pontmercy (Original London)

Ruffelle’s Eponine sounds so utterly vulnerable here, but with a hint of strange almost-happiness that reminds me of the Brick’s version of her death scene. Her voice feels lighter and sweeter here than anything else, and Ruffelle’s Eponine always has a different way of singing when Marius can hear her from how she sings when he can’t, and here we feel them merging together, especially at her “hold me now and let it be, shelter me, comfort me.” And I adore Ball’s Marius softness here, especially during the duet part. His “hush-a-bye, dear Eponine” is angelic. The whole song feels so intimate with them. This is always the point where I start crying.

30. Night of Anguish - Michael Ball as Marius Pontmercy, Anthony Warlow as Enjolras, Gary Morris as Jean Valjean (International Symphonic)

Somber all-around, and everyone’s voice is good. No performer sticks out that much, to be honest. I do get chills whenever the “Drink with Me” theme comes on in the background. And when Jean Valjean comes in, the rising terror of Les Amis becomes apparent, and all their voices are strong.

31. The Attack - David Burt as Enjolras (Original London)

Again, a plot song in between the big ones, so not too much to say here, but everyone sings well.

32. Drink With Me - Aaron Tveit as Enjolras, George Bladgen as Grantaire, Eddie Redmayne as Marius Pontmercy, Daniel Huttlestone as Gavroche Thenardier (2012 movie)

Just to warn you, the sound doesn’t kick in until a few seconds in. I absolutely love this version (once the generous poster re-added Grantaire’s solo, of course). I love Tveit’s Enjolras’ weariness and gentleness at the beginning, reminiscent of Brick Enjolras who loves his friends in his fierce and quiet way. You can hear the heartbreak in his “Marius, rest.” I love how Huttlestone’s Gavroche echoes Les Amis’ lines throughout the chorus — I’ve never seen that in any of the stage productions. And God, Bladgen’s Grantaire. He is so much more earnest here than others I’ve seen, and I appreciate that he gets quiet on “can it be, you fear to die?” as if he’s past defiant anger and is already grieving. He just has a clear, lovely voice. And although it sucks that the movie cut his solo out and it had to be edited in this way, I almost like how faraway it makes this part sound, as if Grantaire is still holed up in the Corinthe with his wine, looking down at his friends, half-awake and helpless. I appreciate that Redmayne’s Marius’ lyric was changed from “Would you weep, Cosette, should Marius fall?” to “Would you weep, Cosette, if I were to fall?” because it sounds a lot more like something someone would actually say. Also, this is another clip with video, and I’m really happy with how it looks, especially the way both Enjolras and Valjean are off to the distance and the way it pans to Valjean when Marius is singing about Cosette.

33. Bring Him Home - Colm Wilkinson as Jean Valjean (10th Anniversary)

Wilkinson’s Valjean starts out so quiet, with the perfect sweet spot of vibrato. Literally all of his high notes sound perfect and still expressive! I almost don’t know what to highlight, but just listen to how he decrescendos on that “I am old, and will be gone” and the power in that “if I die, let me die” and that absolutely ethereal last “bring him home” which he holds for so so long for a note that high for a tenor. This man has the range, darlings.

34. Dawn of Anguish - Anthony Warlow as Enjolras (International Symphonic)

Warlow’s Enjolras absolute grief and tenderness is absolutely heartwrenching. The way he delivers the line “we will not abandon those who cannot hear.” And that little “Drink with Me” reprise feels like getting stabbed. Whenever they end it with “if I die, I die with you” I stop breathing for too many seconds.

35. The Second Attack/Death of Gavroche - Daniel Huttlestone as Gavroche Thenardier, Aaron Tveit as Enjolras, Hadley Fraser as the Army Officer (2012 movie)

Huttlestone’s Gavroche is amazing. You can hear that he’s in pain but not even scared as he sings in a clear, powerful voice. Fraser also killed his “you have no chance, no chance at all” and I’m honestly surprised he didn’t get cast as one of Les Amis. And, of course, Tveit’s Enjolras’ “until the Earth is free!” could have singlehandedly killed King Louis-Philippe.

36. Dog Eats Dog - Bernard Leo Burmester as M. Thenardier (Original Broadway)

Barry James’ Thenardier might be the funniest, but Burmester’s will always be the scariest. His growly tones and big dynamic changes and dramatic enunciation really make this. The breathy way he says “when the gutters run with blood” and his powerful final “the harvest moon shines down” is beyond chilling.

37. Javert’s Suicide - Philip Quast as Javert, Colm Wilkinson as Jean Valjean (10th Anniversary)

Wilkinson’s Valjean here is the angriest I’ve ever seen his portrayal of the character. There is so much pent-up bitterness in his “I knew you wouldn’t wait too long.” Quast’s Javert is wonderful, as always. In his duet part with Wilkinson, with his half-feral “I will be waiting, two-four-six-oh-one,” both of them shine. And then during his main soliloquy, when he goes from snarling, “it is either Valjean or Javert!” to sounding so soft and lost as he begins the “how can I now allow this man to hold dominion over me?” bit. And at his “by granting me my life today, this man has killed me even so,” you can hear him making his choice to jump, and it’s awful, and it’s perfect.

38. Turning - Original Broadway Cast

Oh, this song is so underrated, and these people do a particularly amazing job with it. Their voices sound so tired and worn, sometimes old and rough, sometimes young and light, and all of them heartbroken. Their “where’s that new world now the fighting’s done” and the way they sing the round section is haunting and beautiful.

39. Empty Chairs at Empty Tables - Eddie Redmayne as Marius Pontmercy (2012 movie)

I have to say, no one does this one like Eddie Redmayne. His Marius’ grief is absolutely crushing. I like how this arrangement goes super light with the instrumentals at first, and how Redmayne’s Marius starts off very soft. His “at the table in the corner” section gives me goosebumps every time, and he nails every single high note. And by the time we reach “phantom faces at the window,” he seems to be letting it out, and his “oh my friends, my friends, don’t ask me what your sacrifice was for” has me sobbing.

40. Every Day/A Heart Full of Love Reprise - Katie Hall as Cosette, Gareth Gates as Marius Pontmercy, John Owen Jones as Jean Valjean (2010)

Ah, Les Mis, killing me with the parallels once again. This version seems to go by awfully fast, but Hall’s Cosette and Gates’ Marius are properly sweet, and JOJ’s Valjean is gentle and sad and heartbreaking. All of their voices balance each other well.

41. Valjean’s Confession - Gary Morris as Jean Valjean, Michael Ball as Marius Pontmercy (International Symphonic)

I really don’t like versions that shorten this; I feel like Jean Valjean needs to be wordy here. In the Brick, he’s almost hysterical. Morris’ Valjean is so gentle, and you can hear the pleading and pain in his voice, on phrases like “she’s had enough of tears” and “to save his sister’s son” and then his voice is so powerful and despairing on “who am I?” and then when it gets soft..yeah I’m not okay. Ball’s Marius’ “it must be so” is pretty, but he doesn’t stick out that much compared to Morris’ powerhouse performance. Also, God the score playing “who am I?” in the background was just cruel. I love it.

42. The Wedding Chorale/Beggars at the Feast - Barry James as M. Thenardier, Gay Soper as Mme. Thenardier, Michael Ball as Mariius Pontmercy (International Symphonic)

James and Soper are just the right Thenardiers for the job. They are clearly having an extremely good time, and I love their sniveling and their scheming and their flamboyance. Ball’s Marius acts very well here too. I love his scoff at “do you think I don’t know who you are?” and his anger on Eponine’s behalf.

43. Finale - Colm Wilkinson as Jean Valjean, Randy Graff as Fantine, Frances Ruffelle as Eponine, David Bryant as Marius Pontmercy, Judy Kuhn as Cosette (Original Broadway)

I have no words.

#les mis #les miserables #jean valjean #javert #thenardier #madame thenardier #cosette #cosette fauchelevent #marius pontmercy #eponine #Eponine thenardier #gavroche thenardier #enjolras #grantaire #fantine #les amis #long post if you want it to be #angle o speak

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