gblags!!!!

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“Back at the bar, getting cynically stoned
Your friends are all drinking alone
But it’s funny, ‘cause they don’t even cross your mind
When [he] asks you into [his] home…

And hey, somewhere
you threw your fear in the Sea of No Cares
Hey, somewhere,
you threw your fear in the Sea of No Cares…

 - from “Sea of No Cares” by Great Big Sea

George Blagden appreciation post (2/?) - Grantaire [Les Mis 2012]

Oh, you BET I just applied GBS lyrics to Grantaire, eonni.  You bet I did.

(I’m not saying that the blurriness of the final pic is symbolic, but the blurriness of the final pic is totally symbolic.)

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Best of 2016 Countdown #4 :: George Blagden was as ever a little light in darkness. [ 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | 15  ]

George had a slightly quieter year than last year, though no less busy, and kept a bit of a lower public profile but was no less lovely for it. He continued working on and promoting Versailles, did some independent film work, sat for a million beautiful photoshoots, and—at last, happily—got himself back onstage at the end of the year in London.

And of course, on June 5, Barricade Day, George offered Grantaire’s verse of Drink with Me—cut from the Les Mis film but forever in our hearts and imaginations—filming as close as he could in Paris to where it would have been sung, and sharing the video with the now fannish-immortal clue the password is the name of the cafe. [ video / audio ] I wrote about this gift here, but summed it up with a bit I’ll repeat here just because I can: Fanservice? Yes. But also a genuine gift, presented with grace and the sort of charming dignity we’ve been lucky to be able to expect from George Blagden, presented at the right time and in the right way, by the right person.

And then there was this, which wouldn’t have worked in a picset, really, but how much do I love it? Five out of six barricaders just done with being up so high on this windy, rainy day, caked with dirt and muck and getting soaked on ye olde heavenly barricade—and then there’s Killian, still waving his flag and all YES INDEED I HEAR THE PEOPLE SING AND THEY WILL BE HEARING ME TOO FOR THE NEXT WEEK IN THEIR SLEEP.

Only the Good Die Young (Enjoltaire)
just-french-me-up
Only the Good Die Young (Enjoltaire)

I just had an epiphany and decided to rewrite Billy Joel’s Only the Good Die Young into an Enjoltaire song

Come out, Enjolras, don’t let me wait
You rebellious boys start much too late
But sooner or later it comes down to fate
I might as well be the one
Passion’s your virtue, you fight for the day
Your features are marble and mine are from clay
And I never told you that I like the way
Your light shines like the sun
Only the good die young

You might have heard I run with a dangerous crowd
We ain’t too pretty, we ain’t too proud
We might be laughing a bit too loud
But that never hurt no one
So, come on, Enjolras, show me a sign
Send up a signal I’ll throw you the line
The bright red banner you’re hiding behind
Never lets in the sun
Darling, only the good die young

You’ve got so much noblesse and a blind faith in your revolution
You got a brand new goal
And a cross of gold
But, Enjolras, are you ready to die for your nation?
You didn’t count on me
When you were fighting for democracy

They say there’s a heaven for those who will wait
Some say it’s better but I say it ain’t
I’d rather laugh with the sinners than cry with the saints
The sinners are much more fun…
You know that only the good die young

You say all you dream about are France and your revolution
Will you ever be free?
Did you ever dream about you and me?

Come out, come out, come out
Enjolras, don’t let me wait,
You rebellious boys start much too late,
But sooner or later it comes down to fate
I might as well be the one,
You know that only the good die young

Five notes for a Tuesday:

  • I will never come close to matching Ginger’s eloquence about Killian, so I will merely add that I am so happy that after two dodgy years, he’s made the decision to come home to Les Mis: I think it’s the perfect move for him both personally and professionally. My greatest hope is that he remains in the show through the end of January so I can witness his Bring Him Home in person.
  • As work has been an epic struggle these past couple of weeks, I’ve adopted a Friday evening routine that involves a split of Prosecco, a long bubble bath, and the new series of Versailles on my iPad. The show is decent, but there really need to be more scenes between Gblags and Vlahos: that relationship is by far the most interesting part of the whole endeavor.
  • Bailey’s audition tape for The Last Five Years appeared on YouTube the other day, and it’s hard to say what’s most impressive aspect of the whole thing: his singing, his acting, or his hair. 
  • I’ve been slowly making my way through the most recent series of Our Girl, and I don’t have anything remotely intelligent to say about it other than to channel Olivia Colman in Fleabag and note that Ben is very attractive. VERY ATTRACTIVE. VERY.
  • With some spare time last night I started writing out my thoughts about Harlots, and oh God, I have so many feelings about that show and about that man. (I’m dying to talk to someone about it, but my RL anglophile friends are otherwise occupied, and I’ve been hesitant to engage with the nascent Harlots fandom, as I doubt they are eager to chat with someone who is there for the actor who plays the worst man in London.) I’ll save my ramblings for the end of Hugh’s run in the show, which may or may not be imminent: we’ll see how tonight’s episode goes.

And now, coffee and a croissant. (No, not that one.)

anonymous asked:

hi sooo pls forgive me im a little confused what is blagdens tweet talking abt? would u mind explaining bc I'm getting the vibe that it's significant?? thanks so much!!!

It’s totally fine!

So, in the 2012 Les Mis movie, Tom Hooper cut most of the song “Drink with Me” including Grantaire’s solo. Without his lines, the audience doesn’t understand that Grantaire doesn’t believe in the cause. They don’t see him as the cynic who is singing to Enjolras, who is hopeless in both the revolution and his love. They don’t see him leave the cafe Musain and drink alone rather than stay with his friends for the fight to come. Without his lines, Grantaire is simply another barricade boy.

What George Blagden did (who played Grantaire in the 2012 film for context) is post a video of him singing Grantaire’s lines, something the fandom has waited 4 years to hear. AND in addition to that, he password protected it with “the name of the cafe” in Les Mis. 

It should be noted that this is the same man who ships the most popular ship in the fandom which involves his own character. This is the same man who portrayed Grantaire in the most unrequited way possible with all the stolen glances at Enjolras throughout the movie. And made a cover of “I Will Follow You Into the Dark” with a rewritten verse to be about the ship. And posted calligraphy on his Instagram with their initials. He ships his own ship. 

So basically, this man opened the flood gates of feelings that every fan had carefully constructed.

sashaatthebarricade  asked:

I know I'd happily read all the novels on Killian as Valjean. Oh Ginger, this is going to be something quite special. I can't wait to see it.

OH JOIN ME IN THE CAN’T-WAITING ROOM.

So! The novel I’m absolutely not writing about Killian stepping in as Valjean at cast change in June. Like the novel I absolutely didn’t write about Gblags’ Drink with Me, I’m just going to knock this out and not overthink it. Not least because I’ve said so much about it before, and because if I do think too hard about it, there will be Emotions Business. This is long, whoops. No one is surprised.

First, this is A Good Time to do it. Not necessarily because of the lack of roles in London now for him, but that is a factor. A bigger factor is that vocally and physically, he’s so ready now. He’s spent the last year and a half on cruise control vocally—Charlie is no stretch in terms of the singing, and Soul of a Man is a song-hill Killian could climb in his sleep; Jackie in Donegal wasn’t strenuous, either—and since The Commitments he’s learned how to take care of his voice. While in Memphis he made leaps and bounds as an actor, and while KB was no challenge in that respect, he at least has retained the stronger grip on himself he found. Since February of this year, he’s also made some definite changes that now have him quite fit; I think he is nearing some of the best possible shape of his professional life, and right on time, too.

But then he’s not entirely unfamiliar with the physical needs of the role, of course. I have no count of how many times he covered Valjean between between 2009–2011, but it was no doubt enough to give him plenty of information on the toll the role takes. The songs will not trouble him, that’s a near-as-dammit certainty; even if he doesn’t have the bell-like clarity now that you could hear in his Valjean then, there will be an even more wonderful richness and maturity to his singing that wasn’t there before. I’ve heard and read arguments that he was just too young, and I get that—there is a case to be made that he’s still too young now, but again, see below re: available roles in London, and a guy’s got to pay the mortgage—but there’s not been a better time than now, vocally; really, truly—everything since The Commitments has been building to this. Killian grew up in this show over three years, and left it soaring but still young; think of everything he brings back to it now.

So what do we potentially have to look forward to? Obviously a glorious Bring Him Home (I expect I will die, and so will be sure to plan for an aisle seat so my death and resurrection for The Final Battle cause the least possible distraction), but also a marvelous Who Am I?—he’s always sounded lovely in that one, though the last note always seems to surprise him—and a potentially thrilling Confrontation (his Confrontation with Norm Lewis is my hands-down all time favourite version of the song), and a soaring final note on One Day More. I don’t think he ever quite got a proper handle on Valjean’s Soliloquy, so I am very much looking forward to him working through it and finding his way. His weakness as a cover was the finale, but that I think was a product of youth, and he couldn’t find the elderly, desperately exhausted Valjean inside himself at that time. My guess is that it will be drawn out more easily now. Smaller moments to look forward to would be the interaction with Fantine and, to a lesser extent, Cosette; Killian’s an incredibly generous actor with women, and capable of showing great tenderness when called for and sometimes even when not. For my part, it will be a joy to actually feel invested in some of the early scenes of the show again. And I hope beyond hope for an excellent take on my favourite lines of Valjean, in the scene where he lets Javert leave the barricade. I’m not in love with the past few years’ blocking choices in that scene, but if anyone can make it work for me, it would be Killian.

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