44 years after its creation, the famous musical which enjoyed success around the world returns to Paris on November 20 in an “improved” version in French, at the Théâtre du Chatelet.
Forty-four years after its creation, the musical Les Miserablesa monument which has triumphed in more than 50 countries, is reborn in Paris, in an “improved” French version, certainly “the ultimate”, according to its authors.
The show based on the novel by Victor Hugo (1862), a short extract of which was unveiled during the opening ceremony of the Paris Olympic Games with the aria “A la will du peuple”, is at the Théâtre du Châtelet, temple Parisian Musical Theatre, from Wednesday November 20 until January 2. A tour is expected to follow in 2026, according to the theater.
A musical with record numbers
Born in 1980, Les Miserables was “translated into 22 languages, performed in 426 cities in 53 countries” and attracted “more than 130 million spectators”, according to the Châtelet. His story is paradoxical.
The comedy was born in France, in French version, with a text by Alain Boublil and music by Claude-Michel Schönberg, two authors of musical shows then at the beginning of their careers. The direction is entrusted to Robert Hossein. On display at the Palais des Sports in Paris for 16 weeks, the show attracts more than 500,000 spectators.
The English producer Cameron Mackintosh acquired the rights and offered an English version in 1985. For 39 years, it has been performed in London uninterruptedly, with “more than 15,000 performances”. The musical also played on Broadway for nearly 20 years – winning numerous awards – but also in Asia, etc.
In France, despite the success of 1980, the show stopped. “Robert Hossein did not want to travel, the decor of the Palais des Sports had to be destroyed, it was over,” recalls Alain Boublil, met by AFP during a rehearsal. According to him, France at the time did not have the structures to accommodate this style of show.
It was a “poorly regarded” art in France, says Patrick Niedo, a specialist in the genre. While, at the same time, the show was “quickly nicknamed ‘Les Mis’ in London and ‘Les Miz’ in New York, as a term that entered common parlance”, adds the author of the work History of musicals (Ipanema editions).
A new scenography
For this new production, in which the authors Boublil and Schönberg largely participated, the direction was entrusted to Ladislas Chollat (Resists from France Gall or Molière, the musical show).
On a stage which hides the orchestra and in an atmosphere of grays and browns, nearly 40 singers move on two large ramps: here they represent M. Madeleine’s factory in which Fantine works, there a staircase on which sings the policeman Javert or even the entrance to the Thénardier inn.
“I was inspired by an engraving by Gustave Doré, which illustrates Dante’s ‘Hell'” with “paradise at the top of the slope”, testifies Ladislas Chollat. “It is Jean Valjean’s quest to move towards the light, towards goodness”.
A scenography which allows him to explore all the facets of Victor Hugo’s work: “the epic, romantic, poetic, political or social side”.
A revised booklet
For this entirely sung musical, the lyrics have been reworked, by 20-25%, so that they stick more to the spoken word of the 2020s, according to the authors and Ladislas Chollat.
Which does not spoil the pleasure of the public accustomed to the emblematic tunes of the English version, like Do you hear the people sing (To the will of the people): he can rediscover Fantine’s aria in French (I had dreamed)Cosette’s song (A doll in the window), etc.
Also note the particularity of Jean Valjean’s role, evolving between very low notes and others much higher. “It’s interesting to play,” assures its interpreter, tenor Benoît Rameau.
“It’s moving,” summarizes Alain Boublil. “We have the chance to return to Paris and start again in a brand new production.” “I fully intend for this to be the last improvement”, “the ultimate French version”, he concludes.
