Synopsis

Act 1

In Bagne prison in Toulon, France, in 1815, the prisoners work at hard labour ("Work Song"). After 19 years in prison (five for stealing bread for his starving sister's son and her family, and the rest for trying to escape), Jean Valjean, "prisoner 24601," is released on parole by the policeman Javert. By law, Valjean must display a yellow ticket-of-leave, which identifies him as an ex-convict ("On Parole"). As a convict, Valjean is shunned wherever he goes and cannot find regular work or lodging, but the Bishop of Digne offers him food and shelter. Desperate and embittered, Valjean steals the Bishop's silver and flees. He is captured by the police, but rather than turn him in, the Bishop lies and tells the police that the silver was a gift, giving Valjean a pair of silver candlesticks in addition. The Bishop tells Valjean that he must use the silver "to become an honest man" and that he has "bought (Valjean's) soul for God" ("Valjean Arrested, Valjean Forgiven"). Ashamed and humbled by the Bishop's kindness, Valjean resolves to redeem his sins ("Valjean's Soliloquy" / "What Have I Done?"). He tears up his yellow ticket, breaking his parole but giving himself a chance to start a new life free from the stigma of his criminal past.

Eight years later, Valjean has assumed a new identity as Monsieur Madeleine, a wealthy factory owner and mayor of Montreuil-sur-Mer. Fantine is a single mother working in his factory, trying to support her daughter Cosette, who is being raised by an innkeeper and his wife while Fantine labors in the city. Unbeknownst to Valjean, the factory foreman lusts after Fantine, and when she rejects his advances he takes it out on the other workers, who resent her for it. One day a coworker provokes a fight after learning about Fantine's child, and the foreman uses the incident as a pretense to fire Fantine ("At the End of the Day"). Fantine reflects on her broken dreams and about Cosette's father, who abandoned them both ("I Dreamed a Dream"). Desperate for money, she sells her locket and hair, finally becoming a prostitute ("Lovely Ladies"). When she fights back against an abusive customer, Bamatabois, Javert, now a police inspector stationed in Montreuil-sur-Mer, arrives to arrest her. But Valjean, passing by the scene, pities Fantine, and when he realizes she once worked for him and that she blames him for her misfortune, he is guilt-stricken. He orders Javert release her before taking her to a hospital ("Fantine's Arrest").

Soon afterwards, Valjean rescues a man pinned by a runaway cart ("The Runaway Cart"). Javert, who has up until now not recognized Valjean, though he has pursued him as a fugitive all these years, witnesses the incident and becomes suspicious, remembering the incredible strength Valjean displayed in the work camp. But it turns out another man has been arrested, and is about to go to trial for breaking parole. The real Valjean realizes that this case of mistaken identity could free him forever, but he's not willing to see an innocent man go to prison in his place and so confesses his identity to the court ("Who Am I?"The Trial"). At the hospital, a delirious Fantine dreams of Cosette. Valjean promises to find Cosette and protect her ("Come to Me" / "Fantine's Death"). Relieved, Fantine succumbs to her illness and dies. Javert arrives to take Valjean back into custody, but Valjean asks Javert for time to fetch Cosette. Javert refuses, insisting that a criminal like Valjean can never change or do good. They struggle, but Valjean overpowers Javert and escapes ("The Confrontation").

In Montfermeil, the duplicitous innkeepers, the Th"nardiers, use Cosette as a servant while extorting money from Fantine by claiming that Cosette is seriously ill, all the while indulging their own daughter, "ponine. Cosette dreams of a life where she is not forced to work and is treated lovingly ("Castle on a Cloud"). The Th"nardiers cheat their customers and live a life of criminal depravity ("Master of the House"). Valjean meets Cosette while she's on an errand drawing water and offers the Th"nardiers payment to adopt her ("The Bargain?). The Th"nardiers feign concern for Cosette and bargain with Valjean, who pays them 1,500 francs in the end. Valjean and Cosette leave for Paris ("The Waltz of Treachery").

Nine years later, in 1832, Paris is in upheaval because of the impending death of General Lamarque, the only man in the government who shows mercy to the poor. Among those mingling in the streets are the student revolutionaries Marius Pontmercy and Enjolras, who contemplate the effect Lamarque's death will have on the poor and desperate in Paris; the Th"nardiers, who have since lost their inn and now run a street gang; their daughter "ponine, who is now grown and has fallen in love with Marius (who remains oblivious to her affections); and the streetwise young urchin Gavroche, who knows everything that happens in the slums ("Look Down"). The Th"nardiers prepare to con some charitable visitors, who turn out to be Valjean and Cosette, who has grown into a beautiful young woman. While the gang bamboozles her father, Cosette runs into Marius, and the pair fall in love at first sight. Th"nardier suddenly recognizes Valjean, but before they can finish the robbery Javert, now an inspector stationed here in Paris, comes to the rescue ("The Robbery"). Valjean and Cosette escape, and only later (when Th"nardier tips him off) does Javert suspect who they were. Javert makes a vow to the stars (which represent his belief in a just and ordered universe where suffering is a punishment for sin) that he will find Valjean and recapture him ("Stars"). Meanwhile, Marius persuades "ponine to help him find Cosette (?"ponine's Errand").

At a small caf", Enjolras exhorts a group of idealistic students to prepare for revolution. Marius interrupts the serious atmosphere by fantasizing about his new-found love, much to the amusement of his compatriots, particularly the wine-loving Grantaire ("The ABC Caf?"Red and Black"). When Gavroche brings the news of General Lamarque's death, the students realize that they can use the public's dismay to incite their revolution and that their time has come ("Do You Hear the People Sing?"). At Valjean's house, Cosette thinks about her chance meeting with Marius and later confronts Valjean about the secrets he keeps about his and her own past ("Rue Plumet"In My Life"). "ponine leads Marius to Valjean's house (despite being heartbroken that he has fallen in love with another), and he and Cosette meet again and confess their mutual love ("A Heart Full of Love"). Th"nardier and his gang arrive, intending to rob Valjean's house, but "ponine stops them by screaming a warning ("The Attack on Rue Plumet"). The scream alerts Valjean, who believes that the intruders were sent by Javert to ferret out his cover. He tells Cosette that it's time once again for them to go on the run.

On the eve of the 1832 Paris Uprising, Valjean prepares to go into exile; Cosette and Marius part in despair; "ponine mourns her unrequited love for Marius; Enjolras encourages all of Paris to join the revolution as he and the other students prepare for battle; Marius is conflicted whether to follow Cosette or join the uprising; Javert reveals his plans to spy on the students; and the Th?nardiers scheme to profit off the coming violence. Marius decides to stand with his friends, and all anticipate what the dawn will bring ("One Day More").

Lirssa studied her image in the mirror backstage. It was only half an hour before curtain. In the hour since she had arrived, she had warmed up her body and her voice. Though she was not a dancer, she followed the others in barre work. The movements established a focus as well a woke all the muscles of her body. After, she vocalized; running gently over scales and arpeggios. All the clutter in her throat was gone and her voice was open and flexible.

She felt the hum of the excitement backstage vibrate through her. It was as if they were all connected by invisible strands. Each person was at their task, whether confirming the sound, the lighting, the makeup, costuming — just the right amount of this and that.

The theatre was filling. Slowly at first. It was early yet. But the audience, too, would be connected to the performers if they did their job right. Lirssa was confident and still the nerves, those wonderful, useful nerves that kept her focused on her role, were tingling in her belly.

The first role, one that would not be written of or mentioned, was as a 'lovely lady.' Her attributed role was "ponine, but as with many stage productions , the performer of that role took up some other parts, tucked in a shadow — a body singing about the customers who come at night. It was the scene she was least comfortable doing, the one that stretched her the most, made her go beyond her experience.

The bodice was on, but she would not have it cinched to look tight until closer to the scene. Her makeup was already in place for "ponine, not altered with garish rouge or smeared lip paint. A rumpled sweetness, a broken dream, that was all the makeup needed to imply.

The fanfare. Brass, strings, and the beating of the tympany. The curtain would rise soon. The fountain of excited delight bubbled up inside Lirssa. She was ready.

Jean Valjean was a convicted criminal. He stole bread for his starving sister's family. He did wrong, but with good intentions.

Yasmin could relate.

After deliberately making a scene, more like several scenes, at the end of the previous season, Yasmin wasn't really sure she would be welcomed back. After a talk with Mataya, she knew that she would be allowed to audition. She was so proud to be accepted back into the Theater Company, eventually getting the role of Fantine. As odd as it sounded, Yasmin was never so honored to play the role of a prostitute.

Even though she had worked thing out with Mataya, that didn't ease her fears about working with her co-workers again. She couldn't tell them that it was all just a ruse to get more publicity for the theater. If she did, she would lose her diva image she worked so hard to get. She toyed with the idea of casting off her diva persona, just as Valjean torn up his yellow ticket-of-leave identifying him as an ex-convict in order to start over as an honest man, but she wasn't strong enough yet.

For now, just as Jean Valjean resolved to redeem his sins, Yasmin hoped she could make it up to her co-workers one day.

When Arandir stepped out on stage each night, he became Marius. It wasn't an illusion or elven magic to blame. Marius was simply a part Arandir had been born to play, and it was a role that sometimes hit a little too close to home.

It was Cara who had suggested "Empty Chairs At Empty Tables" for his audition, perhaps knowing how much he could relate to the character of Marius and the grief he'd felt after losing everyone he'd held dear. She knew Aran best, after all - better than anyone. He was a quiet soul, a bit of a loner, and though he was friendly, he had not made many friends in the theater, save for his Carina.

His singing, however, was second to none, and his audition had not only brought Ludo to tears, but had unintentionally cinched his role in the musical. Each time since that he had taken the stage to sing it, pouring his own grief and loneliness into the song, there wasn't a dry eye in the house. Though he had no way of knowing what affect he had on those who heard him, each night ended with a standing ovation, not only for him but for the entire cast.

Though Les Mis, as it was affectionately referred to by cast and crew, was a story full of grief and tragedy, it was also a story of love, friendship, and loyalty, and in a way, it was a story that mirrored Aran's own life, such as it was. Like Marius, he had been willing to die with his friends for what he believed in, but had been become the sole survivor. Like Marius, he had lost everyone he had ever cared for, and yet, he had somehow managed to find love, and it was that love that had given him hope and a reason to live.

And so, when the curtain opened each night, Arandir, Half-Blood Prince of Ilyethlin, became Marius Pontmercy, beloved of Cosette, friend of Enjolras, and member of the doomed revolution.



((Here is Michael Ball singing "Empty Chairs at Empty Tables". And for those who prefer the film version, here's Eddie Redmayne in the same role. Though I prefer Michael Ball's voice, I think Eddie Redmayne's performance is closer to Arandir's than the other.))

Les Mis"rables was one of Eregor's all-time favorite musicals, certainly in the top five and quite possibly the top three. He had enjoyed it immensely when the Shanachie had performed it a few years earlier, and was overjoyed when he'd learned that he'd be a part of the new production. Even better, he was playing Inspector Javert.

There was a certain delight in playing the antagonist. Javert wasn't a villain, but a man who believed in the rightness of his cause, to bring order to a society that, in his experience, shunned those who guarded it as wholly as it did those who sinned against it. As such, Eregor played the part with an undercurrent of intensity and determination that informed every note he sang, from his confrontation with Valjean after Fantine's death—a duet that he relished, matching voices with Ben Gates—and best exemplified with "Stars" in Act 1.

There, out in the darkness, A fugitive running Fallen from God, fallen from grace God be my witness, I never shall yield Till we come face to face Till we come face to face!

He knows his way in the dark Mine is the way of the Lord! Those who follow the path of the righteous Shall have their reward! And if they fall as Lucifer fell The flame! The sword!

How would such a man react when, after being left at Valjean's mercy only to be freed, he was confronted with the fact that the law he served and the morality he faced were at odds" Eregor put everything he could into his performance as he raged, he roared....and, in the end, he broke.

I am reaching, but I fall And the stars are black and cold As I stare into the voice Of a world that cannot hold I'll escape now from that world From the world of Jean Valjean There is nowhere I can turn There is no way to go onnnnn!

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On a practical note, the effect of his falling from the set and suspending in mid-air on that held note while the music reached a crescendo before plummetting into the "Seine" was very well done.