Judy Kuhn sings both Florence on the Broadway cast album of Chess and Cosette on the Broadway cast album of Les Misérables. My recent Chess-listening binge got me thinking about the two roles, how much stronger a character Florence is (at least when looking at the stage version), and how Eponine’s greater degree of agency might explain what makes her so popular.
Of course in the book it’s a bit different: There are hints that Cosette would really like to be able to do more on her own, but as a respectable young woman, she doesn’t have many choices available. Éponine can do more because she doesn’t have to worry about losing her respectability.
Check out the full article, Agency: Cosette vs. Éponine vs. Florence on my Reading Les Misérables blog.
Two of my fan interests sort of intersected* with a pair of articles I wrote last night, as I found myself looking at the Flash and Les Misérables in the late 1930s/early 1940s.
I review Orson Welles’ Les Misérables radio play over at Re-Reading Les Mis. Last weekend I stumbled on a cassette recording of the 1937 series, but since I don’t have anything portable to play cassettes on anymore, I went looking online, found it at the Internet Archive’s Old Time Radio collection, and listened to it on the way to and from work for several days. (I wish I hadn’t already used the Cassette…now I remember pun.)
A 1943 Flash comic book features Jay Garrick playing every role at once in a stage play, quick-change style, when the entire cast is quarantined for a measles outbreak. I’d recently updated the scans on an old post on the one-man team trope. The Disneyland outbreak made me think of the story, and I’ve posted a few scans at Speed Force.
*They’ve been intersecting all week, actually, since the actor playing Pied Piper on the Flash TV show is playing Marius on Broadway right now, and has been posting Les Mis-related stuff.
Over at my Les Mis blog I review a Les Misérables board book — yes, for toddlers — that brings “abridged” to a whole new level!
Last month I caught a local theater company’s cabaret-style reinterpretation of the Les Miserables musical. Read my review at A Visit to Thénardier’s Inn.
Last week I finished re-reading Les Misérables. I’ve been working on this off and on for most of the year, taking breaks to read other books along the way. I don’t feel finished yet, though, because I set myself the challenge of commenting on the whole thing as well, and I’m way behind on that.