Theatre Les Miserables Discussion

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12:49:39 PM Sep 14th 2014
How is the "No offense, please reflect: your intentions may not be correct" line a way of Getting Crap Past the Radar?
11:23:17 PM Sep 14th 2014
That trope gets lots of misuse. I suspect this is another instance and would recommend removal.
04:59:03 AM Sep 15th 2014
I'm guessing that, in context, they're implying that Jean Valjean is a pedophile, which is sexual, but Les Mis is rarely if ever kid-friendly, so there's no radar to get crap past. I think the entry should be removed.
01:36:26 AM Jul 1st 2014
This is one big violation of Example Indentation in Trope Lists:
  • Song Types: Since this show has numbers of basically every trope, we list them in this way:
    • Angry Mob Song: "Red and Black," "Do You Hear the People Sing?", we could go on.
    • Bad Girl Song: “Lovely Ladies," though it's more ironic than the trope usually is - most of these women, after all, did not exactly choose their line of work
    • B.S.O.D. Song: "Javert's Suicide" is this trope embodied (also a good example of a Sanity Slippage Song) and Marius' "Empty Chairs at Empty Tables".
    • Counterpoint Duet: "A Heart Full Of Love" when Éponine's voice contrasts the utter sappiness that is this song. The second half of “Every day” is a reprise with Valjean taking Éponine’s lines.
      • "Confrontation" is a semi-example, since Valjean and Javert sing together throughout, but do switch melody lines
    • Crowd Song: "Do You Hear the People Sing?" among many others.
    • Cut Song: “Little people” went from a five-minute solo with choir refrains in the Original Concept Version and the Original London Version to an eight-line part of a longer song and a reprise for Gavroche’s death from 1986 on.
    • Dark Reprise: Every song gets a reprise. Most of them increasingly depressing.
    • Death Song: "Come To Me," "A Little Fall of Rain," "Javert's Suicide," and the Epilogue.
    • Distant Duet: "One Day More" kicks it up a notch or two: it's a Distant Act Finale featuring eight singers in at least six separate groups.
    • The Eleven O'Clock Number: "Wedding Chorale"
    • Epic Rocking: "Do You Hear the People Sing?", its reprise, and, of course, "One Day More."
    • Fanfare: The major key version of the Overture played at the beginning of Act 2 which then segues into the “Red and Black”-motive
    • Final Love Duet: "A Heart Full of Love" comes towards the end of Act I, and Cosette sings "Every Day" towards the end of Act II to console Marius.
    • Ghost Song: "Epilogue". Inverted by "Empty Chairs at Empty Tables".
    • Grief Song: “Turning”, "Empty Chairs at Empty Tables" and "I Dreamed a Dream."
      • After "A Little Fall of Rain," Éponine gets a brief tribute from the Friends of the ABC.
    • Hail to the Thief: In the Concept version, Gavroche gets a verse about Louis-Philippe of Orléans, which is rather sarcastic and so full of period double entendre that it is freakishly difficult to understand.
    • Hakuna Matata: The original (long) version of “Little People”.
    • "I Am" Song: "Who Am I?" is the very obvious example; also, "I Dreamed a Dream" and "Master of the House."
    • "I Am Becoming" Song: "What Have I Done", and Cosette's "In My Life." Also, Fantine's part of "Lovely Ladies" is her becoming a prostitute.
    • "I Am Great!" Song: “Master of the house” for Thénardier.
    • Irrelevant Act Opener: Usually known as “Building the Barricade”, it’s a mash-up of already known musical themes, includes one not very important plot point (or this and a more important one, depending on whether you consider “The letter” a separate song) and a lot of weird lines:
    “Now the people will fight."/"And so they might/Dogs will bark/Fleas will bite.” What do you want to tell me there?
    • The above line is a consequence of Adaptation Distillation - Grantaire lacks the conviction the other students have that the people of Paris will rise up to support them at the barricade, thus his attitude of "Meh, people will do what people do." A minor example of All There in the Manual.
    • "I Want" Song: "On My Own", "In My Life", "Stars", and "Castle On a Cloud".
    • Massive Multiplayer Ensemble Number: "One Day More"
    • Musical Chores: It’s even called the “Work Song”.
    • Opening Chorus: The "Work Song" again.
    • Orchestral Bombing: “The First Attack”, “The Second Attack” and “The Last Battle” of course…
    • Reprise Medley: "One Day More".
    • "Setting Off" Song: “Do you hear the people sing?”
    • Sidekick Song: Both “Master of the house” and “Beggars at the feast” fit because of the comic reflief. “Little People” probably fits best.
    • Somewhere Song: “Castle on a Cloud
    • The Song Before the Storm: "One Day More" and "Bring Him Home."
    • Triumphant Reprise: The final reprise of “Do you hear the people sing?”
    • Truck Driver's Gear Change:
      • "I Dreamed a Dream" begins in Eb and ends in F.
      • "Stars" starts in E, but the last part is in G.
      • Also, "Do You Hear the People Sing" ends in a different key.
    • Villain Song: "Master of the House," which doubles as the single catchiest song in the show as well as its reprise “Beggars at the feast”. The same character has a straight villain song in "Dog Eats Dog". Javert’s "Stars" is an Anti-Villain song.
    • Villain Recruitment Song: "Lovely Ladies" for Fantine.
    • "The Villain Sucks" Song: "Master of the House", oddly; Thénardier's part (the main part) is a straight Villain Song, but when his wife starts singing it turns into this (though she is also a villain).
    • Villainous Lament: “Javert’s Suicide”
    • Welcoming Song: "Master of the House" is mostly about Thénardier welcoming guests to his inn (with plenty of asides about how he intends to rob them). "Lovely Ladies" serves the same purpose but in an even darker way, with the prostitutes welcoming some sailors coming in from a voyage, and then Fantine to become one of them.
07:19:40 AM May 15th 2011
Cut this line:

  • Did Not Do The Research: There are sometimes moments, such as the line "They were schoolboys, never held a gun" in the song Turning. When you consider that nearly everyone who died had fought on the barricades only 2 years before in 1830, and some in other riots, the idea that none of them had fought before is a little ludicrous.

The other revolutions and riots are not mentioned at all. How would the women singing know whether the students had fought then? How would the audience know? This seems to be a non-issue.
01:17:41 PM May 15th 2011
The women would certainly know - 1830 contained the July Revolution, which as you may know was Kind Of A Big Deal, and since Marius becomes loosely affiliated with Les Amis in 1828, by which point they were already fiercely political, the more staunch ones (Enjolras, Combeferre and Bahorel, who I think is explicitly mentioned as having taken part in the riots of 1828) would have been involved. If they had any political convictions at all, they would likely have participated in some kind of revolutionary activity - this was a very politically unstable time.

As for the audience, it depends on the audience - French audiences would probably know about the political instability, a lot of English/American audiences might not and I couldn't speak for the rest of the world.
03:40:32 AM May 16th 2011
I wonder whether this should go under Did Not Do The Research or Artistic License. I mean, the English lyricists clearly read the book, which mentions earlier riots and goes on about the July Revolution A LOT, so it would be odd that they made a mess of this particular fact. So they either just didn't care, or they did it to increase the impact. I'm going to put it back for now, but if you think that artistic license is more valid then change it.
10:38:21 PM Aug 28th 2011
Massively Multiplayer Ensamble Number—- One Day more seems to fit this trope.
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