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The irony in the WWE’s 12th annual “Tribute to the Troops,” says WWE performer the Miz, is that sometimes, somehow, the thanks can get reversed. This year’s salute, which wi…
Fact - This song was written specifically for the show’s début in London and features a final verse sung by Gavroche explaining his dislike for Javert!
This would have been useful to read prior to seeing the film. SPOILERS!
Les Misérables is the motion-picture adaptation of the beloved global stage sensation seen by more than 60 million people in 42 countries and in 21 languages around the globe and still breaking box-office records everywhere in its 27th year. It's due to hit theaters on December 25, and as the day grows nearer, BroadwayWorld will bring you complete coverage of the highly anticipated film - including a complete photo preview below!
I've found that, when I work on "commission", I tend to knit even faster, and such was the case with my latest afghan. Denis and I had already decided to gift my previous afghan to a friend, so Denis needed one for the guest bed. (Due to his back surgery, etc., the mattress on the guest bed is much more comfortable for him to sleep on while it most decidedly is not for me. Thank heavens Casa Kittling could accommodate these altered sleeping arrangements with no additional expense!) Since he fell head-over-heels in love with the seamless quilt pattern, I knew that was the pattern I had to use. Denis continues to rave about the afghan he uses in the evenings as he relaxes in his recliner. So soft! So warm! And since he seems to sleep very well underneath it, he believes that I knit a "Z" in every stitch. (Think Z as in snoring.) Once again, I warmed up my US size 17 circular needles, got a double strand of my favorite afghan-making Lion Brand Homespun yarn in an intense blue called "Montana Sky", and set to work. Here is the finished afghan. It's large enough to completely cover the guest room bed, and I certainly haven't heard any complaints from Denis, so I still must be knitting a Z in every stitch. Speaking of stitches, the seamless quilt pattern sets itself up nicely to complete a certain amount of rows each night as I watch television, and those rows add up to 1254 stitches per session. And in case you're wondering, I have my next afghan halfway completed! Now what was I watching while I was knitting away on this afghan? I read and enjoyed Anthony Horowitz's Magpie Murders when it was first released, so when I learned that Britbox had adapted it for television, I really looked forward to watching it. The icing on the cake was discovering that Horowitz also wrote the screenplay for the series. The man is extremely talented when it comes to writing both mysteries and screenplays. The concise storyline is "Editor Susan Ryeland gets drawn into a web of intrigue and murder when she receives Alan Conway's unfinished manuscript of an Atticus Pünd mystery," and it's a delight to watch. I certainly hope Britbox and Horowitz do more collaborations!
HERBERT KRETZMER: As I sat in my Knightsbridge flat all those years ago, agonising over whether the line about ‘but the tigers come at night’ would work or not, I never dreamed of what Les Miserables would become.
So I just got back from seeing Les Miserables and, oh, is it good. (edit: I went to see it a grand total of 6 times and am now, more or less, obsessed.) This is coming from someone who, despite being a great fan of musical theatre, has never actually been to see a West End production! I wasn't particularly familiar with the story, having not read the book either. I was familiar somewhat with the soundtrack - musical theatre soundtracks, another thing I just love - and the Les Mis soundtrack is brilliant. The way all the songs have a kind of connection, whether that's through the lyrics or the melody, which some people may find a bit annoying, not being able to tell songs apart, but when done well, it just works. And also how they were recorded live on set, allowing the actors the freedom to really act the songs, play with the tempo, it just gave it that extra something. Now, costumes. Hehe. - - Costume designer, Paco Delgado I found this link here that includes an interview with the costume designer Paco Delgado, which I will take a few snippets from that I found of great interest... Costume designer Paco Delgado first met director Tom Hooper in Spain, and got along so well that a few months later he was invited to meet Hooper in London to discuss his next project - Les Miserables. From the overall colour scheme to the revolutionary rosettes, nothing in Les Mis is an accident. For instance, the use of red, blue and white - the colours of the french flag - was a cue taken from period artworks. Liberty Leading the People by Eugène Delacroix “You have for example Delacroix’s Freedom Guiding the People for the barricade and you see people blocked in solid blue, with red and with white. That was a decision — Tom wanted to go that way, and use these three colours in a very patriotic way. But then with Marius and Cosette, it was more natural, a question of a romantic story going on." “When you start designing a movie, especially in a case like this one where you have so many characters you have to have a sort of leitmotif running for character,” Jean Valjean -“It is very monastic, his life. And once, in Morocco, I saw shepherds in the Atlas mountains wearing these long coats made with very, very coarse wool from the sheep that they had." Fantine - “One of the first things that Tom said to me is that he wanted that factory to look in fact a little bit like a nunnery. Like a convent of girls, where purity was there. Obviously blue is a colour associated with purity, and also associated with nuns and the Virgin Mary.” Éponine - “I love see-through materials, always. I think they bring a fragility and you always can play with light with them. And also you always can play with different layers. And I love that." Javert - “...we started with a bright blue. We then start darkening his costume because we thought his character was getting more deeply sorrowful, more sombre, more complex, in a way — obsessed with trying to catch a man who was almost uncatchable." Cosette - “We always thought of Cosette like a flower — the reason we used peaches and lilacs and all the colours you could see in a garden. She started as a girl dressed in black because she was living in a convent and had this sort of saint kind of look, a proper girl at a convent school.” Marius - "He obviously is a rich guy who pretends he is poor and all those things had to be inside his costume somehow.” I found the following really interesting, it's something you don't really think about when watching the film, but if the sound is recorded live then fabric becomes a consideration. It seems they were lucky with the time it's set...“We had to be very careful with the sound of the fabrics. We couldn’t use any taffeta at all because it makes so much noise. But by fortune, that wasn’t a period of taffeta. You have it at the end of the 18th century and then later on in the 19th century but in the period of the film, silk was something of the Ancien Régime, used at Versailles, and there was a big backlash and rejection of those expensive fabrics at the time. They had also discovered a new fabric from India: cotton. Chintz and cotton and muslin, it’s an amazing period for that. So you have a moment in history when cotton was considered much more beautiful than silk. We were very lucky about that!” So yes, do have a quick look as they also have a few pictures and more information and such. There's also a short costume design featurette on youtube, along with a hair and makeup one. The story starts in 1815 and progresses through to 1832 (though I think the final scene in the film is in 1848), and fashions changed quite a bit in that period. By the 1800s, here in England we were still in the regency era, think Jane Austen, though fashions were becoming a little more fancy. Waistlines get lower as we got through the early 1800s (waistlines were up and down constantly throughout the 18th and 19th centuries), until they are right at the waist, as upposed to right under the bust, though the lower classes kept this high waist until about 1830. Here is an example comparing female fashions in 1815 to 1830. Waistlines changed, necklines changed, sleeves and skirts got bigger. Bodices became a 'V' shape and women started wearing corsets for a slim waist. You can see the Victorian look come into play as it's only a couple of years before Queen Victoria comes to the throne (1837). Amanda Seyfried as Cosette In France, it was pretty much the same story. Here's a good website that explores the fashions from about 1800-1825, and includes both France and England. Men's fashions, I know a bit less about, but the most distinctive look in the film would be this sort of thing... Eddie Redmayne as Marius The Byron collar, a stiffened cravat and a waistcoat, or vest (single or double breasted), was a gentlemen's choice of attire in the 1820s - 1830s. Along with breeches, high waisted trousers and a choice of shoes or boots. Fashions through the 1800s all used to merge into one for me, but the more I look, the more I notice how distinctive they are to their decade. Hope you've found this interesting, I just love the progression of fashions and how they came about. Especially when it's included in awesome film adaptations of musical productions...
The Walnut Street Theatre's new resident staging of Les Misérables opened in downtown Philadelphia to glowing reviews on May 21.
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This would have been useful to read prior to seeing the film. SPOILERS!
