Open Forum

I recently was given the opportunity to direct Les Miserables next fall. I am excited but also pseudo-terrified. I am a theatre director through and through and not a vocal or music coach by any means. I can produce great results from a acting standpoint or for technical related aspects of the show. I was wondering if anyone who's ever worked on this show can offer advice on their experience. The most difficult parts, solutions they found to certain challenges (revolve, Javert's Suicide, costuming, stage weapons with live fire.... you KNOW what I'm talking about), favorite parts, audience response- etc.

Here's some other bits about our situation: this production will be performed with a school in the UK that we partner with. It will be built and performed at my school as well as theirs. We will come together as a unified cast for a short time and then perform together in both places. Les Miz is already difficult enough.... 

My vocal director situation is tenuous, and the show is produced in October/ November which conflicts with marching band which obviously displeases my Music Director.

Our budget is limited as we must fundraise enough money to fly kids to the UK.... So saving money on all other aspects of the show is always a major goal.

I have no fly system, orchestra pit, or room for the orchestra on the floor in front of stage. I typically select musicals where I can include the orchestra as part of the show (Cabaret, Anything Goes, Thoroughly Modern Millie- I was able to put them all upstage on a platform of some kind). Not sure how to handle that issue for this show given that we will need essentially all of the stage space to execute the many scene changes.

What have you done? What has worked, what hasn't worked?

-------------------------------------------
Victoria Kesling Councill
Theatre Teacher
New Kent County Public Schools
New Kent VA
-------------------------------------------

We completed production on Les Mis (School edition) last March and faced many staging limitations as we did the show in a theatre with a 11 and 1/2 foot height and only 22 feet of depth to the stage.

We removed the front row of seats and created an orchestra pit 21'X 7'in that space - it was cozy to say the least.  We did consider putting the orchestra in a side room and feeding the music into the theatre and using video monitors to allow the orchestra to follow but decided against that.

Because of the height issues and limited back stage and wing space we did not design for full scene changes.  The set was representative and location changes were achieved primarily through lighting and bringing in key properties and set pieces - a table and chairs, a gate, a bed.

We did not have Valjean throw himself off a bridge - rather, we had the bridge section built on a dolly and wheeled him to DSC as the lights faded around him.  By the end of the song, he was in a spot only but above the audience and raised his pistol to his head (we, of course, staged this so the weapon was angled upstage of him etc.) and a gun shot was fired offstage and he collapsed out of the spotlight and the spot blacked out to darkness.  It was a powerful moment.

As to the stage weapons, we contacted a company out of Calgary (90 miles south of us) which provides stage weapons to the film industry and they generously sponsored the rental of the weapons and work-shopped our gun handlers as to safety and protocol.  We then had parents with weapons certification handle the and load the weapons for shows. We had to buy a locking gun cabinet for the run of the show.

If you look at pictures on our website you may find the design rather unusual.  We set Les Mis in an undefined dystopian society. Hence the set is filled with graffiti and bare wood and represents urban structures.  The costuming was described as 'old world modern' - or 'Steam punk meets the Hunger Games / District 12'.

Ironically, a theatre company in Texas this summer earned rave reviews and publicity for staging the first ever production of Les Mis in modern dress!

As to the musical aspect of the show, it is key to have time and commitment to do it.  The music is massive.  Choosing the school version is a logical one for high schools to slightly reduce the scale of some of the songs and the difficulty of the vocal ranges.

Feel free to check out the show website:

HHHS Les Mis

-------------------------------------------
William Jacobsen
Red Deer AB

I have directed Les Mis and found it to be one of the most rewarding experiences in my directing career and I have been teaching/directing for over 30 years. Our school does not have a fly space or a revolve but that should not matter for any show.  With Les Mis, look to the libretto it has all you need.  Spend the time with the students looking at the lines, subtext and structure of the music.  It is all there for a reason.  Read the novel and be able to help the students to understand the "story".  The key idea...."to love another person is to see the face God"  has to be the driving force through all the rehearsals.  

If you look at the history of the revolution the people were always pushing against the government and "walking in circles" never getting anywhere thus the use of the revolve.  However, in the original production there was no revolve.  I incorporated the use of the "pushing"  and "circles" into the blocking patterns.  

For the set I passed the design on to the students and they created a kind of Tetras set in which all 4 sides of the set pieces could be used (interlocked) and we were able to create a myriad of settings which had multiple levels.  Lighting was used to also identify setting and create special effects for the bridge suicide and barricade with fog, haze and some strobe lighting. 

We actually made our rifles out of wooden dowels, hardware and wood glue. We added a leather strap and stained them and they looked the time period and worked well.  

We spent the majority of our time learning how to understand the story and then tell it through singing.  Our vocal rehearsals were 3 times a week for 2 hours from February to the end of March and two days for a week for blocking and choreography.  

I am fortunate that I have a Musical theater production class and a separate Stagecraft class to work on the production elements of the show as well as a separate musical and vocal director.  

Enjoy the creating part of the show....it is well worth the journey. 
-------------------------------------------
Kathy Cannarozzi-Harris
Chairperson Of Visual And Performing Arts
Laguna Hills CA
-------------------------------------------


Original Message:
Sent: 11-27-2014 11:30
From: William Jacobsen
Subject: Les Miserables!

We completed production on Les Mis (School edition) last March and faced many staging limitations as we did the show in a theatre with a 11 and 1/2 foot height and only 22 feet of depth to the stage.

We removed the front row of seats and created an orchestra pit 21'X 7'in that space - it was cozy to say the least.  We did consider putting the orchestra in a side room and feeding the music into the theatre and using video monitors to allow the orchestra to follow but decided against that.

Because of the height issues and limited back stage and wing space we did not design for full scene changes.  The set was representative and location changes were achieved primarily through lighting and bringing in key properties and set pieces - a table and chairs, a gate, a bed.

We did not have Valjean throw himself off a bridge - rather, we had the bridge section built on a dolly and wheeled him to DSC as the lights faded around him.  By the end of the song, he was in a spot only but above the audience and raised his pistol to his head (we, of course, staged this so the weapon was angled upstage of him etc.) and a gun shot was fired offstage and he collapsed out of the spotlight and the spot blacked out to darkness.  It was a powerful moment.

As to the stage weapons, we contacted a company out of Calgary (90 miles south of us) which provides stage weapons to the film industry and they generously sponsored the rental of the weapons and work-shopped our gun handlers as to safety and protocol.  We then had parents with weapons certification handle the and load the weapons for shows. We had to buy a locking gun cabinet for the run of the show.

If you look at pictures on our website you may find the design rather unusual.  We set Les Mis in an undefined dystopian society. Hence the set is filled with graffiti and bare wood and represents urban structures.  The costuming was described as 'old world modern' - or 'Steam punk meets the Hunger Games / District 12'.

Ironically, a theatre company in Texas this summer earned rave reviews and publicity for staging the first ever production of Les Mis in modern dress!

As to the musical aspect of the show, it is key to have time and commitment to do it.  The music is massive.  Choosing the school version is a logical one for high schools to slightly reduce the scale of some of the songs and the difficulty of the vocal ranges.

Feel free to check out the show website:

HHHS Les Mis

-------------------------------------------
William Jacobsen
Red Deer AB

I, too, am considering Ls Miz for next year.  I'm really excited because it will be the SECOND time that I have directed and conducted the show.  Something to consider is what we did the first time and that was to do more of a "concert" version of the show.  Scale things down to what you know you can do well, and then let the audience's imagination fill in the blanks.

When I do it again next year, I won't have any fly space either, and won't have a revolving stage.  However, I am already thinking of ways to do what the script calls for.  I teach a Musical Theatre class and one of the things we always talk about is how to meet the demands of the story, balanced with the audience expectations.  

Look at the various DVD's that are out there - the concert version, the movie-musical, and then let your imagination take over.

Do what you can do well.  Good luck!

-------------------------------------------
Michael Hancey
Musical Theatre Teacher/Theatre Guild Sponsor
Laramie WY
-------------------------------------------


Original Message:
Sent: 11-26-2014 09:46
From: Victoria Kesling Councill
Subject: Les Miserables!

I recently was given the opportunity to direct Les Miserables next fall. I am excited but also pseudo-terrified. I am a theatre director through and through and not a vocal or music coach by any means. I can produce great results from a acting standpoint or for technical related aspects of the show. I was wondering if anyone who's ever worked on this show can offer advice on their experience. The most difficult parts, solutions they found to certain challenges (revolve, Javert's Suicide, costuming, stage weapons with live fire.... you KNOW what I'm talking about), favorite parts, audience response- etc.

Here's some other bits about our situation: this production will be performed with a school in the UK that we partner with. It will be built and performed at my school as well as theirs. We will come together as a unified cast for a short time and then perform together in both places. Les Miz is already difficult enough.... 

My vocal director situation is tenuous, and the show is produced in October/ November which conflicts with marching band which obviously displeases my Music Director.

Our budget is limited as we must fundraise enough money to fly kids to the UK.... So saving money on all other aspects of the show is always a major goal.

I have no fly system, orchestra pit, or room for the orchestra on the floor in front of stage. I typically select musicals where I can include the orchestra as part of the show (Cabaret, Anything Goes, Thoroughly Modern Millie- I was able to put them all upstage on a platform of some kind). Not sure how to handle that issue for this show given that we will need essentially all of the stage space to execute the many scene changes.

What have you done? What has worked, what hasn't worked?

-------------------------------------------
Victoria Kesling Councill
Theatre Teacher
New Kent County Public Schools
New Kent VA
-------------------------------------------

Dear Victoria,

Make sure you check on the legality of using a revolving platform. That was a design concept for the original broadway show and is copyrighted. I have heard of some shows in competition who have been disqualified for using that concept.
Good luck

-------------------------------------------
Brian Lovejoy
Plantation FL
-------------------------------------------


Original Message:
Sent: 11-26-2014 09:46
From: Victoria Kesling Councill
Subject: Les Miserables!

I recently was given the opportunity to direct Les Miserables next fall. I am excited but also pseudo-terrified. I am a theatre director through and through and not a vocal or music coach by any means. I can produce great results from a acting standpoint or for technical related aspects of the show. I was wondering if anyone who's ever worked on this show can offer advice on their experience. The most difficult parts, solutions they found to certain challenges (revolve, Javert's Suicide, costuming, stage weapons with live fire.... you KNOW what I'm talking about), favorite parts, audience response- etc.

Here's some other bits about our situation: this production will be performed with a school in the UK that we partner with. It will be built and performed at my school as well as theirs. We will come together as a unified cast for a short time and then perform together in both places. Les Miz is already difficult enough.... 

My vocal director situation is tenuous, and the show is produced in October/ November which conflicts with marching band which obviously displeases my Music Director.

Our budget is limited as we must fundraise enough money to fly kids to the UK.... So saving money on all other aspects of the show is always a major goal.

I have no fly system, orchestra pit, or room for the orchestra on the floor in front of stage. I typically select musicals where I can include the orchestra as part of the show (Cabaret, Anything Goes, Thoroughly Modern Millie- I was able to put them all upstage on a platform of some kind). Not sure how to handle that issue for this show given that we will need essentially all of the stage space to execute the many scene changes.

What have you done? What has worked, what hasn't worked?

-------------------------------------------
Victoria Kesling Councill
Theatre Teacher
New Kent County Public Schools
New Kent VA
-------------------------------------------

It is also worth noting that the current touring and Broadway production do not make use of the revolve.

The key scene with this is the death Gavroche which is incredibly powerful with him climbing over the barricade and only being heard by the revolutionaries as he is shot.  The intensity of the revolutionaries and the stillness as they watch their young friend sacrifice himself works well.

-------------------------------------------
William Jacobsen
Red Deer AB
-------------------------------------------


Original Message:
Sent: 11-29-2014 13:52
From: Brian Lovejoy
Subject: Les Miserables!

Dear Victoria,

Make sure you check on the legality of using a revolving platform. That was a design concept for the original broadway show and is copyrighted. I have heard of some shows in competition who have been disqualified for using that concept.
Good luck

-------------------------------------------
Brian Lovejoy
Plantation FL
-------------------------------------------


Original Message:
Sent: 11-26-2014 09:46
From: Victoria Kesling Councill
Subject: Les Miserables!

I recently was given the opportunity to direct Les Miserables next fall. I am excited but also pseudo-terrified. I am a theatre director through and through and not a vocal or music coach by any means. I can produce great results from a acting standpoint or for technical related aspects of the show. I was wondering if anyone who's ever worked on this show can offer advice on their experience. The most difficult parts, solutions they found to certain challenges (revolve, Javert's Suicide, costuming, stage weapons with live fire.... you KNOW what I'm talking about), favorite parts, audience response- etc.

Here's some other bits about our situation: this production will be performed with a school in the UK that we partner with. It will be built and performed at my school as well as theirs. We will come together as a unified cast for a short time and then perform together in both places. Les Miz is already difficult enough.... 

My vocal director situation is tenuous, and the show is produced in October/ November which conflicts with marching band which obviously displeases my Music Director.

Our budget is limited as we must fundraise enough money to fly kids to the UK.... So saving money on all other aspects of the show is always a major goal.

I have no fly system, orchestra pit, or room for the orchestra on the floor in front of stage. I typically select musicals where I can include the orchestra as part of the show (Cabaret, Anything Goes, Thoroughly Modern Millie- I was able to put them all upstage on a platform of some kind). Not sure how to handle that issue for this show given that we will need essentially all of the stage space to execute the many scene changes.

What have you done? What has worked, what hasn't worked?

-------------------------------------------
Victoria Kesling Councill
Theatre Teacher
New Kent County Public Schools
New Kent VA
-------------------------------------------