"we'll always have Paris": the end of a Les Miz era
Click to viewSong for Day 11: Rouge et Noir
After almost 35 years, Les Miz of London has decided to switch over from its original production (which the London production is), to the new "25th" (now almost 35th) Anniversary Production. It's an ugly and unnecessary move that no one wants. The Lady Doritos of theatre choices.
The revival is... clumsy at best. While the actual sets and some of the choices that were taken back from the novel were a nice touch, generally speaking, the direction is latent with forced pathos, overtly vulgar, and makes you feel like you're stuck in a reject Pirates of the Caribbean (and I mean that in the least flattering way possible). The projections are....well, your mileage may vary (it's hit or miss) and the lighting design leaves a lot to be desired. There are a lot of things I like about the revival--I saw it many times because [people whom I thought were] my friends were in it; I saw the tour and the Broadway revival (which was the far inferior of the two, despite lots of really wonderful and talented people in it). The best parts of the staging for the revival were blatantly lifted from regional productions who did them infinitely better.
A LOT of people are unhappy about the change over. Many of the original London cast members are upset by the change. The London production was not only iconic, it was historic. The new staging doesn't translate well to everyone, and I am honestly afraid (if I can even be made to care that much about the show anymore) for the show's future. I am more moved than I thought I would be (but didn't cry, because, frankly, I have enough real things to cry about).
When changes are made, at say, Disneyland, or something--those changes have been made with care. The changes made to the Disneyland Railroad, for example, were done with a LOT of care, not only to Walt, but to the people who love Disneyland and the train holds a very special place in their hearts. Also, sections of the Disneyland Railroad, specifically the Grand Canyon section, were treated with extra care, because not only is it a beloved part of the park that was special to both Walt and to visitors, it's a historic piece. It holds a world record (of some kind) for being the longest (or one of the longest) continually paintings in the world.
The Powers That Be in the case of Les Miz don't care, nor have they ever really cared.
I get that things can and will and DO change---that's not the point. The reasons why they change, though, are important.
Les Miz was once a very, very special part of my life, isn't anymore, and can never be again.
To truly understand, let me take you back a little bit. When I was a child, my beloved late, great-uncle Donald Pelotte introduced me to the Les Misérables novel (he reminded me a lot of the Bishop, to be honest). I think the first time I read it... oh, gosh, I must have been like 7-8 years old. It had a really profound effect on me as a poor kid of colour. I saw myself in characters like Gavroche (the best one, obviously!). I knew there was a musical, but avoided it, because the idea of Javert singing was just.... idiotic to me (hahaha).
In 2010, there was the great 25th anniversary revival of the musical in the UK/ Europe, with a tour to mount in the US, and a couple of new translations of the Brick, as well. I was intrigued and mildly excited. I was telling someone about my great Uncle Donald, and how he had introduced me to the story.
I Googled him to show this person his accomplishments, only to find out that he had passed away. I am estranged from that part of my family (for good reason), and none of them contacted me to tell me he had died. I was absolutely devastated. I ended up mourning in a very traditional way (I cut off my hair and burned it in Ceremony). Uncle Donald was not only someone I loved very much as a family member, he was a huge part of my spiritual life and why I am the person I am today.
The flashy new revival and the new translations came to me at the right time, I suppose. I started, in almost an act of regression, drawing the characters. I made lots of friends online that way (whom I still love and treasure and are incredibly close to and grateful for). I made friends with some of the people on the US tour (some of whom I am still very close to and love), and some who weren't really my friends and were just using me for free art, but I digress.
But because of its sour associations--with BS like the horrors of sadfrenchpeople (hollllyyyyy crappppp), finding out that so many people whom I thought were my friends weren't, the damage that doing fan art did to my career as a professional artist (my art career has never recovered from), and associations with what has now become trauma, those precious memories of my Uncle Donald and one of the few nice things about my childhood are lost to me. The toxicity of Tumblr fandom, cast members in the Broadway revival who were raised in proximity to wealth whining about their jobs on social media, or the latent greed that surrounds the industry didn't help either.
It all just serves as a reminder, that, as much as we love the media we consume--books, television, theatre, we don't own it. And, a lot of the time, the people who make it or in charge of it don't care about those who consume it, and that it's all about money. It's an industry, and it's always been all about money. We can pretend that it was high-minded "art" or "representation" or whatever---but ultimately, it's all about money. It's why I don't give too much credit to "representation" in advertising, because it's most certainly less about certain demographics seeing themselves on television or in print, and more about whatever product or brand is trying to make sure they don't miss out on our money, too.
In the last year, Les Miz has become such a painful subject for me, I gave away every last item I had related to it; I threw out the art I couldn't even give away; I kept the two original LPs and some of the DVDs because other people in my life enjoy them. I don't have a single copy of the Brick left. I did keep a sweatshirt that thick_syrup gave me, because it's also one of the few things that still has good memories for me.
It was, for years, most of my life, such a big and important comforting part of my life, and I associated it with someone whom I loved. Now it doesn't, and I can't even find some bittersweet nostalgia for it.
The change over has made me sadder than ever I thought it would. It moved me more than I thought it could.
In a world where there are real life Les Misérables situations all over are really happening, it's hard for me to justify getting that emotional over a multi-billion dollar endeavour making an unnecessary change.
I guess this can be what finally makes me say goodbye to it.
Ouch.
"We'll always have Paris."