Cosette sweeping Thénardier's Inn, by Émile Bayard
"Les Misérables" began as a French “concept album” written by Alain Boublil (lyrics) and Claude-Michel Schoenberg (music) and performed in Paris at the Palais des Sports in 1980 under the direction of Robert Hossein. It was based on Victor Hugo's 1862 novel of the same name. After Cameron Mackintosh acquired the rights in 1983, Herbert Kretzmer’s adaptation into English helped it become the longest-running musical in history.
“Les Misérables” resembles a 40-50 course “prix fixe” menu at a 3-star Michelin restaurant. It is a “sung-through” musical and too grand in scope to consider each piece in detail on this website. We explore the overall production and several iconic songs from the French-language 1980 premiere in Paris and the 1985 English-language adaptation in London.
Like many of the artists on this website, Alain Boublil (lyricist) and Claude-Michel Schoenberg (composer/singer) emerged from deeply cosmopolitan roots. Boublil (b. 1941) was born in Tunisia, a French protectorate until 1956, in a family with Sephardic Jewish heritage. When he was 18, he "went up" to Paris for university studies. Schoenberg’s parents were Hungarian Jews who moved from Budapest to the town of Vannes in Brittany where Claude-Michel was born in 1944. His father was a piano tuner and both parents shared a love for music. Both Claude-Michel and Alain went to Paris as students and later as apprentices working in the music industry.
Boublil & Schoenberg
Boublil and Schoenberg met by coincidence in 1968 and became close collaborators. Their joint interest in musical theater began in 1971 when Boublil saw a production of Andrew Lloyd Webber and Tim Rice’s "Jesus Christ Superstar" in New York. That led to a collaboration in 1973 on the first French rock opera, “La Révolution Française,” with Schoenberg playing the role of King Louis XVI. Having addressed the “great revolution” of 1789, they turned next to the 1832 “June Rebellion” or “Paris Uprising” against the newly-established monarchy of Louis Philippe that Victor Hugo enshrined in his novel “Les Misérables.”
Victor Hugo by Auguste Rodin 1885
Where did the project for "Les Misérables" come from? In 1978, Boublil attended Cameron Mackintosh’s revival of Lionel Bart’s Oliver! in London based on Dickens’ “Oliver Twist.” The Jack Dawkins character (Artful Dodger) in that show reminded Boublil of Gavroche in Victor Hugo’s 1862 novel “Les Misérables.” From there, Boublil and Schoenberg spent two years developing a “concept album” (an album with a theme or story). Schönberg wrote the music and Boublil the lyrics with assistance from Jean-Marc Natel. They completed a two-hour demonstration tape with Schoenberg singing the roles and accompanying himself on piano. The album was recorded and released in 1980, selling 260,000 copies. It was a heroic venture since Victor Hugo’s epic historical novel ranges from 1200-1500 pages, depending on the edition. The concept album featured several songs that remain familiar today, while others were later changed thematically and given to other characters, some were fleshed out, and others were dropped entirely.
A stage production of the "concept album" by director Robert Hossein premiered at the Paris Palais des Sports in September 1980. It had 3 acts and an epilogue and ran for 100+ performances over 3 months. It was seen by half a million people, closing after 3 months because the Palais des Sports had other commitments.
The pathway from Paris to London was paved with a serendipitous set of circumstances. A friend of Boublil from Manchester, director Peter Farago, gave the concept album to British impresario Cameron Mackintosh (“Cats,” “Phantom of the Opera,” “Miss Saigon”). Even British weather contributed to the advent of “Les Misérables.” One rainy Sunday afternoon, while Mackintosh organized his music records at home, he listened to the French album that Farago gave him. He said later that the experience matched the first time he heard "West Side Story." Mackintosh decided on "Les Misérables" as his next project and conscripted British librettist and poet James Fenton to write lyrics.
Herbert Kretzmer
However, Fenton was entangled in a trip to Borneo searching for headhunters with his friend Redmond O’Hanlon so things went slowly with work on the lyrics. Fortuitously, Mackintosh remembered meeting in May 1984 with Herbert Kretzmer and learning about Kretzmer’s experience work on lyrics with Charles Aznavour for the songs “Hier encore” and “She.” They happened to be two of his favorites!
Kretzmer (1925-20) was born in South Africa of emigré Lithuanian Jewish parents. He moved to London in 1954 and worked as a journalist and a part-time lyricist. He had a way with words. Mackintosh passed much of Fenton’s job to Kretzmer. More a lyricist than a translator, Kretzmer estimated that his task with "Les Misérables" was about one-third translation, one-third new songs, and one-third adaptation (writing new songs for the music). Kretzmer barely spoke French but worked with an English translation of the French lyrics and read the entire Victor Hugo novel several times. His main objective was not translation but creative adaptation of the songs into English consistent with their melodies and meanings. In his own words:
"I offer this advice to any lyricist invited to adapt or translate foreign songs into
English. . Do not follow the original text slavishly. Re-invent the lyric in your own
words, remembering that there may be better ways of serving a master than
trotting behind him on a leash. Working on Les Miserables I did not see myself as
a translator, but as a co-writer… an equal among equals."
Kretzmer (1925-20) was born in South Africa of emigré Lithuanian Jewish parents. He moved to London in 1954 and worked as a journalist and a part-time lyricist. He had a way with words. Mackintosh passed much of Fenton’s job to Kretzmer. More a lyricist than a translator, Kretzmer estimated that his task with "Les Misérables" was about one-third translation, one-third new songs, and one-third adaptation (writing new songs for the music). Kretzmer barely spoke French but worked with an English translation of the French lyrics and read the entire Victor Hugo novel several times. His main objective was not translation but creative adaptation of the songs into English consistent with their melodies and meanings. In his own words:
"I offer this advice to any lyricist invited to adapt or translate foreign songs into
English. . Do not follow the original text slavishly. Re-invent the lyric in your own
words, remembering that there may be better ways of serving a master than
trotting behind him on a leash. Working on Les Miserables I did not see myself as
a translator, but as a co-writer… an equal among equals."
The move to London also brought changes to the overall narrative of the play, its composite songs and the relative importance of roles. Much of this work fell to co-directors Trevor Nunn and John Caird and the Royal Shakespeare Company (RSC). Since most educated Parisians were familiar with Victor Hugo’s overall story, Alain Boublil originally wrote the songs as vignettes with little story connecting them, and the overall focus was on the love relationship between Marius and Cosette. The London production therefore included a new prologue with background information on Victor Hugo's characters and provided information about the characters and setting. Mackintosh's production also shifted the show’s focus more to the dominant motif of Jean Valjean's redemption story.
"Les Mis" has spawned among its fans a cottage industry of commentary regarding the assignment of songs to roles and the pairing of specific songs with melodic reprises. A distinctive characteristic of “Les Mis” is the intertwined threads of melodies that are reprised as themes throughout the show. They provide linkages between narrative incidents and help establish the identity of characters. Melody detectives have peered endlessly over the scripts to identify the specific melodic themes that connect particular songs. The titles of songs and their assignment to roles also received attention. For example, "L'air de la misère" in the French version became "On my own" in English and it was re-assigned from Fantine to Éponine. There was also the puzzling absence of a distinctive solo for Cosette whose face nevertheless became the visual emblem of the entire show. By the time Kretzmer was done, several French songs in the original version were gone and replaced by half a dozen original songs that he wrote with Boublil and Schonberg. Kretzmer “adapted” the remaining French songs into entirely new English versions. As a result, the length of performances increased from 2 to 3+ hours.
"Les Mis" has spawned among its fans a cottage industry of commentary regarding the assignment of songs to roles and the pairing of specific songs with melodic reprises. A distinctive characteristic of “Les Mis” is the intertwined threads of melodies that are reprised as themes throughout the show. They provide linkages between narrative incidents and help establish the identity of characters. Melody detectives have peered endlessly over the scripts to identify the specific melodic themes that connect particular songs. The titles of songs and their assignment to roles also received attention. For example, "L'air de la misère" in the French version became "On my own" in English and it was re-assigned from Fantine to Éponine. There was also the puzzling absence of a distinctive solo for Cosette whose face nevertheless became the visual emblem of the entire show. By the time Kretzmer was done, several French songs in the original version were gone and replaced by half a dozen original songs that he wrote with Boublil and Schonberg. Kretzmer “adapted” the remaining French songs into entirely new English versions. As a result, the length of performances increased from 2 to 3+ hours.
Early reaction of critics to the first performances of “Les Mis” in October 1985 at the Barbican Theater in London was neutral-to-negative while the popular reaction was ecstatic. Jack Tinker of the Daily Mail pronounced that he had just been through “The Glums.” It did not take long for him to “hear the people sing.”
Following its London debut in 1985, Lés Misérables ran in New York City at the Broadway Theatre from 1987-2003. There were numerous subsequent revivals and new productions. In 1990-91, the London version of the show was translated back into French for runs in Montreal and in Paris where it performed at the Théatre Mogador for 6 months. In 2010, the 25th anniversary of the London show, a new international touring production went on the road. In 2012, a film version of the musical directed by Tom Hooper with a star-studded cast (Hugh Jackman, Anne Hathaway, Russell Crowe, and Eddie Redmayne) received nominations for 8 Oscars, winning three. By Spring 2025, various “Les Mis” productions around the world had been attended by 130 million people in 53 countries in 22 languages.
Les Misérables, Paris Olympic Games, 2024
The year 2024 saw a remarkable turn of events with France reclaiming its cultural heritage in more ways than one. Notre Dame Cathedral officially re-opened in December after a 5-year hiatus following the disastrous fire. The Summer Olympic Games itself resembled a musical show, and “Les Mis” returned to Paris between November 20, 2024 and January 2, 2025 at the Théâtre du Châtelet. This revival under the direction of Ladislas Chollat and producer Stéphane Letellier sported a Boublil-revised French language libretto, French cast and French direction. It had an enthusiastic public reception and won the 2025 Molière prize (equivalent to Tonys) for best musical show, with plans to tour the country in Spring 2026 and return to Paris in November.
Adaptations
This post augments our website segment exploring the “adaptation” of French songs into English. Some songs from Paris 1980 did not survive the “cut” to London 1985. Other songs were written new in English for 1985 and did not have a French version from Paris 1980 (e.g. "Stars," "Bring Him Home," "Empty Chairs, Empty Tables," "Turning"). Still other songs survived only in partial form. Even more complicating, some songs had name changes from one production to another, especially for the 1991 Paris Revival. And some songs were re-formulated and assigned to different players. Among the songs from Paris 1980 that fully survived the “cut” to London 1985 and, with some name changes, the 1991 revival in Paris, were the following:
At the End of the Day 1985, Chorus, (“La journée est finie” 1980), (“Quand un jour est passé” 1991)
I Dreamed a Dream 1985, Fantine (“J’avais rêvé d’une autre vie” 1980 & 1991)
Little People 1985, Gavroche, (“la faute à Voltaire” 1980), (“c’est la faute à…” 1991
Do You Hear the People Sing 1985, Chorus, (“à la volonté du people” 1980, 1991)
One Day More 1985, Jean Valjean, (“Demain” 1980), (“Le grand jour” 1991)
On My Own* 1985, (“l’air de misère” 1980 Fantine), (“Mon histoire” 1991)
A Little Drop of Rain 1985, Èponine, (“ce n’est rien” 1980), (“un peu de sang qui pleure”1991)
*This song consists of a melody (“l’air de misère”) sung by Fantine in 1980 with different lyrics describing her miserable life. “On my own” lyrics were written by Herbert Kretzmer for Éponine in 1985 and paired with the same melody.
I Dreamed a Dream 1985, Fantine (“J’avais rêvé d’une autre vie” 1980 & 1991)
Little People 1985, Gavroche, (“la faute à Voltaire” 1980), (“c’est la faute à…” 1991
Do You Hear the People Sing 1985, Chorus, (“à la volonté du people” 1980, 1991)
One Day More 1985, Jean Valjean, (“Demain” 1980), (“Le grand jour” 1991)
On My Own* 1985, (“l’air de misère” 1980 Fantine), (“Mon histoire” 1991)
A Little Drop of Rain 1985, Èponine, (“ce n’est rien” 1980), (“un peu de sang qui pleure”1991)
*This song consists of a melody (“l’air de misère”) sung by Fantine in 1980 with different lyrics describing her miserable life. “On my own” lyrics were written by Herbert Kretzmer for Éponine in 1985 and paired with the same melody.
The brief comparison below of the first stanza for one of these songs shows how Herbert Kretzmer adapted the 1980 French lyrics to English for the 1985 London performance and illustrates the difference between a “translation” and an “adaptation.”
First Stanza: A "demo" of "adaptation"
“A la volonté du people”/ Do You Hear the People Sing
This popular song appears twice in "Les Mis," first in Act 1 when the students prepare their rebellion in the café and again in the finale by the full cast. The first stanza in the 1980 French version resembles a “toast” with rebel’s wine to the people’s will and the health of progress. Clearly, the 1985 “adaptation” is a total, albeit poetic, re-creation.
|
1980 À la volonté du peuple
À la volonté du peuple Et à la santé du progrès, Remplis ton coeur d'un vin rebelle Et à demain, ami fidèle. |
Translation
To the will of the people And to the health of progress, Fill your heart with rebel wine And to tomorrow, faithful friend. |
1985 Do You Hear the People Sing
Do you hear the people sing? It is a song of angry men. It is the music of a people Who will not be slaves again. |
Three Song Comparisons
Following the "first stanza" illustration (above) we turn to full consideration of three other songs:
1) “J’avais rêvé d’une autre vie”/I Dreamed a Dream by Fantine; 2) “Demain”/One Day More” by Jean Valjean and cast; and, 3) “Ce n’est rien”/A Little Fall of Rain by Éponine and Marius.
Each song is presented with YouTube renditions in 2 versions--first is the 1980 Concept Album version and then a later recording based on the 1985 London adaptation. Each 1980 Paris version is accompanied by both the French lyrics and English translation while the 1985 version shows only the English “adaptation.” As a general overview, we can say that the 1980 French lyrics in these songs are significantly more "realistic" and "gritty" than the 1985 English adaptation. They are also much closer to the descriptions in Victor Hugo's 1862 novel.
1) “J’avais rêvé d’une autre vie”/I Dreamed a Dream by Fantine; 2) “Demain”/One Day More” by Jean Valjean and cast; and, 3) “Ce n’est rien”/A Little Fall of Rain by Éponine and Marius.
Each song is presented with YouTube renditions in 2 versions--first is the 1980 Concept Album version and then a later recording based on the 1985 London adaptation. Each 1980 Paris version is accompanied by both the French lyrics and English translation while the 1985 version shows only the English “adaptation.” As a general overview, we can say that the 1980 French lyrics in these songs are significantly more "realistic" and "gritty" than the 1985 English adaptation. They are also much closer to the descriptions in Victor Hugo's 1862 novel.
Claude-Michel Schoenberg composed the music for all songs while Alain Boublil and Jean-Marc Natel collaborated on lyrics for Paris. For the London 1985 English-language adaptation, Herbert Kretzmer and James Fenton stirred the lyricist brew with Kretzmer assuming a lead role. In moving from Paris to London, the 3 songs all had both title and lyric changes along with a re-direction of meaning. A click on the headings below will take you back in time to 1980 and 1985.
Song One:
1980 Paris: “J’avais rêvé d’une autre vie” (I Dreamed of Another Life)
1985 London: I Dreamed a Dream
1980 Paris: “J’avais rêvé d’une autre vie” (I Dreamed of Another Life)
1985 London: I Dreamed a Dream