Somewhere beyond the barricade, is there a world you long to see?
There’s no more overtly theological (or more popular) musical than Claude-Michel Schönberg & Alain Boubil’s 1980 Les Misérables, based on Victor Hugo’s 1862 novel.
From Valjean and Javert to Eponine and Fantine, this musical crams more pathos, prayer, and bad wigs into three hours than any other musical we know. Do you hear the people sing?
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We talk about:
- Prologue (the Bishop) / Stars / Javert’s Suicide – Javert, the police inspector, embodies a law-and-order version of the Christian gospel (shout-out to our Jansenist followers!) – and ultimately, the mercy he is shown destroys him. Are these competing atonement theories, or is there more subtlety in Les Mis’ treatment of the Christian gospel and its consequences?
- I Dreamed a Dream / On My Own / A Little Fall of Rain – Fantine gets one, brief, shining moment before she dies (it's a weeper), and Eponine stands in for every alto who dreams of being the soprano – and then she dies, too. Why do most of the women in Les Mis end up dead?
- Turning, Turning – "What's the use of praying if there's nobody who hears it?" In a musical where women are mostly prostitutes or virgins, the women’s chorus gives voice to one of the show’s darkest and most provocative theological questions.
- Bring Him Home / Do You Hear the People Sing? – What does an evangelized life look like on the ground – and what does “somewhere beyond the barricade” really mean?
You’ll hear Colm Wilkinson, Phillip Quast, Lea Salonga, Michael Ball and Judy Kuhn from the 1995 “Dream Cast Recording.”
You’ll also hear Anne Hathaway sing “I Dreamed a Dream” from the 2012 film soundtrack because she won an Oscar for it, and attention must be paid.
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