Does anyone else find it interesting that Boublil and Schönberg's musicals always have to do with identity crisis and seem to center around a child? I mean, for LES MIS they did not have much of a choice because they wanted to try to stay pretty close to the original text, but with their other three-MISS SAIGON, MARTIN GUERRE, and THE PIRATE QUEEN-they seem to revolve very much around these themes. I have no problems with this, I just thought it was something to ponder about my favorite collaborative musical composers.
Well Miss Saigon is based on Madama Butterfly which deals with those issues too... (As does Martin Guerre I suppose)--but I get your point.
Interesting observation! That never occurred to me.
An Incomplete History of Les Miserables
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