Watch Ramin Karimloo sing “Bring Him Home" from 'Les Mis' on banjo

Watch: Casey Wilson and June Diane Raphael do very different version of ‘Les Mis

I would completely write this off if it wasn’t for Thomas’ involvement. I hope they call it ‘Les Miserables.’

Written by [actor/writer Graham] Norris, the contemporary take on Les Misérables is a primetime soap about a brilliant lawyer running a legal exoneration program who fights to evade the consequences of his own unjust conviction many years before. He must navigate high society, continue his mission of saving innocent people, and manage his tumultuous family and romantic life — all while staying one step ahead of a ruthless U.S. Attorney who refuses to let the ghosts of the past die.

peterhollens:

Les Miserables Medley - Peter Hollens feat. Evynne Hollens

Here is my newest video guys it’s honestly one of my favorites I’ve ever made for you.   I really hope you find some honest, genuine emotion in it.   Sharing this would mean the world to me if you enjoy it.    Thanks for watching and supporting my music.  

Watch: The Maccabeats’ a cappella ’Les Misérables' medley tells the story of Passover

Very clever re imagining of the songs, all without changing most of the lyrics.

(via heathernewkirk, by MaccabeatsVideos)

Boom.

A new stage version of the blockbuster musical “Les Misérables” will open on Broadway in March 2014, the producer Cameron Mackintosh said on Tuesday, in an attempt to capitalize on the popularity of the Oscar-nominated film and restore luster to the show in New York after a short-lived 2006 revival that even Mr. Mackintosh now admits was ill-conceived.

This latest “Les Misérables” will be missing a notable design element – a revolving turntable – that was used in the original Broadway production, which ran from 1987 to 2003, and the earlier revival, which closed in January 2008. The new version, which has been touring the United States for two years, also features redesigned scenery based on Victor Hugo’s paintings for his original novel, as well as new orchestrations that, as Mr. Mackintosh said, “get away from the crude electric-piano sound of the original.” And the staging is also different, with an emphasis on the gritty lot of the 19th century downtrodden in France; the directors are Laurence Connor and James Powell. (Trevor Nunn and John Caird won Tonys for their direction in 1987.)

Get at least some of the movie cast in there for a limited time and it will be all dollar signs.

Review: ‘Les Miserables’
With a scale as large as the musical source material and the novel that preceded it, paring ‘Les Miserables’ down to a two hour and forty minute movie was no easy task. Whether it’s the lengthy, sung soliloquies or the sweeping, multi-generational narrative that takes a literal and figurative lifetime to tell, fitting it all in may never have been an achievable goal. You couldn’t have it all could you? Tom Hooper does his best to and puts forward an effort that may be the best adaptation of the musical that could have been, but only at times does it truly soar.
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Recording live vocals, while novel, becomes a double-edged sword for the film. Immediately the performances excel over their genre counterparts. The cast’s choices do make a difference, with the connection between acting and singing becoming clear and visible. You can tell the singing you are hearing is directly linked to the performance you are watching. It allows Anne Hathaway, Hugh Jackman, Samantha Barks and Sacha Baron Cohen to elevate the piece beyond its proscenium. But therein lies the issue. Almost if not all of the film feels like artifice. Rarely does Hooper’s revolutionary France seem like a real place. Whether that’s due to the budget or the restrictions of recording live performance (relying on sound stages) is unclear, but in the end, the film plays like little more than a stage show with four walls instead of three.
(As a side note: We’re told on screen of the passage of time with year title cards, but the makeup and performance tell a different story. The scope of years doesn’t play as strongly as it should.)
That’s not to say Hooper, cinematographer Danny Cohen and production designer Eve Stewart don’t do all they can to blow the walls open. There is a sense of grandeur and scale that appears on screen. Dark, dirty interiors sporadically give way to breathable exteriors, just enough to tease you with a time and place. There is an immense eye for detail and (enlarged) human emotion. The walls are just as grimy as the faces of the actors and when we do step away from those close-up solo numbers, the creative team put forth impressive, dynamic battles, choreography and action. Forgivable then are those soliloquized songs that rely on their albiet beautiful melodies and performances to carry them, over any kind of action or camera movement.
Anne Hathaway just singing to camera for minutes on end with essentially no camera movement and no discernible action, while perfect for the stage, should not work on film. And yet, it does thanks to her talent. While it may have been nice for every number to have some kind of visual give and take, a gamble is taken on the faces and the singing being enough — and often it is. Especially for Hathaway and Barks, who walk off with the movie in grand fashion. (Though was it the material they were given or their performances?) Of course, they’re taking it from the back of Hugh Jackman who carries it throughout. And it would be remiss to not mention Sacha Baron Cohen, Eddie Redmayne and Aaron Tveit, who all sell their characters with panache and oomph. 
(Amanda Seyfried does her best with a non-character. And Russel Crowe though well cast is playing catch up the whole time both in the story and performance.)
It’s a wonder that ‘Les Miserables’ made it to the screen as intact as it is. It’s a version that sticks closely to its source material, and much for the better. It never takes that full leap from the theater into a tangible, believable world, but this, let’s call it, “cinematic staging” of ‘Les Miserables,’ hits many of the right marks. Hoping for more than that may have been impossible.

Review: ‘Les Miserables

With a scale as large as the musical source material and the novel that preceded it, paring ‘Les Miserables’ down to a two hour and forty minute movie was no easy task. Whether it’s the lengthy, sung soliloquies or the sweeping, multi-generational narrative that takes a literal and figurative lifetime to tell, fitting it all in may never have been an achievable goal. You couldn’t have it all could you? Tom Hooper does his best to and puts forward an effort that may be the best adaptation of the musical that could have been, but only at times does it truly soar.

Read More

Actual script page.

Actual script page.

4,133 plays

hipstermusicals:

“I Dreamed a Dream” sung by Aretha Franklin.

Anne Hathaway, you’re great and all…but this one takes the cake.

I’ve said it before and I’ll say it again: ‘Les Mis’ = 5 really good melodies repeated over and over and over.

Watch: Full Clip of "One Day More" from 'Les Miserables' | LaSexta via ONTD

Two words: Aaron. Tveit.

suicideblonde:

Russell Crowe and Hugh Jackman perform ‘The Confirmation’ from Les Miserables live at Joe`s Pub in NYC, December 8th

Spoiler alert?

"Look Down" (Hugh Jackman, Russell Crowe and The Convicts)
"The Bishop" (Colm Wilkinson)
"Valjean’s Soliloquy" (Hugh Jackman)
"At the End of the Day" (Hugh Jackman, Anne Hathaway, The Factory Girls and Cast)
"I Dreamed a Dream" (Anne Hathaway)
"The Confrontation" (Hugh Jackman and Anne Hathaway)
"Castle On a Cloud" (Isabelle Allen)
"Master of the House" (Sacha Baron Cohen and Helena Bonham Carter)
"Suddenly" (Hugh Jackman)
"Stars" (Russell Crowe”)
"ABC Cafe/Red and Black" (Eddie Redmayne, Aaron Tveit and Cast)
"In My Life"/"A Heart Full of Love" (Amanda Seyfried, Eddie Redmayne, Samantha Banks)
"On My Own" (Samantha Banks)
"One Day More" (Cast)
"Drink With Me" (Eddie Redmayne, Daniel Huttlestone and Cast)
"Bring Him Home" (Hugh Jackman)
"The Final Battle" (Cast)
"Javert’s Suicide" (Russell Crowe)
"Empty Chairs at Empty Tables" (Eddie Redmayne)
"Epilogue" (Amanda Seyfriend, Hugh Jackman, Eddie Redmayne, Anne Hathaway, Colm Wilkinson and Cast)

New ‘Les Mis’ featurette on new song “Suddenly”

(via Collider)