Tag: les mis

musicals-headcanons:

Just some random domestic Enjoltaire headcanons

Haven’t done one of these for a while so let’s give it a go

  • Enjolras might seem like the tidy and organised one based on how tidy his living room and kitchen is, but his bedroom is a mess. He’s one of these people who will take clothes off and then they’ll remain there until he just wears them a week later.
  • Grantaire on the other hand is notoriously messy in his entire flat except for his bedroom, which is basically empty.
  • When they move in together, Enjolras cleans the flat and Grantaire cleans the bedroom. They’re perfectly matched.
  • Enjolras says he can cook. Enjolras cannot cook. Enjolras set fire to pasta. Grantaire does not know how enjolras managed to set fire to pasta
  • They’re one of these couples who will occasionally just blast show tunes and dance around in their socks. They’ll always say that Grantaire twisted his ankle whilst out jogging, but it was actually during a passionate reinactment of Defying Gravity.
  • They have an unwritten rule that when they’ve had a fight, neither can storm out of the apartment. Enjolras usually sulks in the bedroom and Grantaire takes the kitchen, but neither leave until they’ve made up
  • Enjolras is one of those people who can wake up ridiculously early during the week, but needs a lie in at the weekend. He often gets up at 5am to do some work before getting up during the week, but then Grantaire has to wake him up with coffee and breakfast in bed at around 11am on a Saturday
  • Grantaire on the other hand can stay up till 3am any day of the week, but has to sleep in until at least 9 (he claims that’s early, Enjolras thinks it’s ridiculously late for a weekday).
  • This means that Enjolras spends a lot of time sneaking around in the morning trying to work whilst not waking him up. He still insists he broke a toe that time he walked into a cupboard trying to leave the room without turning the light on
  • Enjolras begs Grantaire for a cat, and he eventually gives in. For R it’s one of those relationships where he’ll be sitting on the sofa at 2am and the cat will sit next to him just staring, and it freaks R out. He’s all cuddles with Enjolras though
  • Enjolras wears contacts generally, and then swaps to glasses when he gets home. This destroys Grantaire because he’s so goddamn attractive in glasses
  • Their most common fight is over the central heating. Grantaire is happy for it to be pretty cold in the flat, whereas Enjolras needs it to be at least 30 degrees at all times.
  • Enjolras adores cuddles, and often comes in from work and just,,,drapes himself across Grantaire? Or he’ll curl up on his lap or lie with his head on R’s shoulder. Grantaire is super happy to receive these cuddles obvs

littlesmartart:

unfairly pretty french twink resorts to iced version of his favourite beverage in the heat because without caffeine he would probably implode

the shirt is courtesy of courf, because you know that if he (and later grantaire) didn’t manage enjolras’ wardrobe that boy would wear nothing but charity fundraiser tshirts and his One Red Hoodie. 

angualupin:

laissezferre:

threadbaremillionaire:

Was it just me or were these lines cut from the current production? Someone with a better memory please reassure/confirm. Either way I felt like drawing it.

screeaaamss yes, the lyrics were cut back in 2000. combeferre used to sing his lines as he stopped the others from pointing their guns at javert, and grantaire was… somewhere

The score is also really interesting here:

The lines sung by Courfeyrac, Feuilly, and Bossuet, when threatening Javert (take the bastard now and shoot him/let us watch this devil dance/you would do the same Inspector/if we let you have your chance) are to a line of music that is elsewhere only seen in two places: it is usually sung by Javert when he is pronouncing judgment on other characters; for example, it is the tune to which I have heard such protestations/every day for twenty years/let’s have no more explanations/save your breath and save your tears is sung during Fantine’s Arrest. The only other time it is used is when Gavroche is mocking Javert. The musical cues, therefore, tell us that this action by the Amis (the desired shooting of Javert) is judgment and that is also wrong; the Amis are employing the same blind condemnation of others that makes Javert the villain.

In contrast, Combeferre’s response (though we may not all survive here/there are things that never die) is sung to the same tune as Fantine’s there’s a child that sorely needs me/please m’siuer she’s just that high, which tells us that Combeferre here is acting as the voice of compassion. It is, in essence, as much a plea for mercy as Fantine’s; more importantly, it’s a plea that must be headed if the moral rightness of the tale is to be followed. Javert, ignoring Fantine’s plea, was acting wrongly; the Amis, while they might have been wrong in their initial leap to take the bastard now and shoot him, respond to Combeferre’s plea in a way that Javert does not respond to Fantine’s, and thus, they ultimately choose the moral path. So by cutting this minute of run time, Cammack wasn’t only cutting a nice bit of Combeferre and Grantaire characterisation that Amis fans might miss, he was also cutting another lesson on judgement vs. mercy, which is ultimately the heart of the story.

(As for Grantaire’s following what’s the difference, die a policeman/die a schoolboy, die a spy, it’s harder for me to tell – I don’t have a copy of the original score, only the 2010 tour score, so I can’t do a bar-by-bar comparison – but I think it’s a unique line that is a play off the plea line but falls more emphatically, making it something like “a despairing plea”, which would fit for what Grantaire is trying to say. But I’d have to have the actual music in front of me to be sure.)

I’ve said it sixty-zillion times before and will say it again: the musical, with all its flaws (and they are many), is still the best adaptation that isn’t a 10+ hour miniseries not that that guarantees you’re a good adaptation, yes I’m looking at you Shoujo Cosette because you can communicate so much more in five minutes of song than you can in five minutes of dialogue. The kind of musical referencing seen here is just one example.

PS If you want to listen to the uncut version, see here, about 3:40 in. It’s the ‘99 London production, with JOJ as Valjean. The entire thing is worth a watch, and not only because it’s pre-cuts.