Today, “Les Misérables” — the story of Jean Valjean, a former convict, being relentlessly pursued by Javert, an unforgiving police officer — is an icon of musical theater. It has run for over 15,500 performances in London and is a staple of school theater programs in the United States. … It’s also been translated in 22 languages and staged in 53 countries.
The idea of turning Victor Hugo’s sweeping 1,400-page novel about poverty and social upheaval in 19th-century France into a musical was actually that of two Frenchmen — the composer Claude-Michel Schönberg and the lyricist Alain Boublil — who, inspired by British and American shows, created “Les Misérables” in 1980 and staged it in Paris.
So Caird, Nunn, Schönberg and Boublil, along with James Fenton, a poet, were soon reading Hugo’s tome and trying to work out a new structure, eventually deciding to open the musical with a scene in which Jean Valjean steals silver candlesticks from a bishop, only for the prelate to forgive him.
Suddenly, Caird said, the character’s motivations were clear: Valjean believed in the New Testament idea of forgiveness, while Javert, his pursuer, adhered to a sterner Old Testament form of justice.
“As a bunch of liberal humanists, we had tried to avoid every mention of religion,” Caird said, but “sewing God into the show was what animated the characters.”
