Ah, Eponine. Now there's an interesting character if ever there was one. Everybody loves her and hates Cosette. Why? Oh, that's easy. Because Cosette has all her dreams come true. She's pretty, she has a secret fortune thanks to her protective and studly adoptive daddy, Jean Valjean. She's kind, she's virtuous, she's pure and innocent. Generally speaking, she's Less Miserable than anyone else in the book.
Meanwhile, Eponine took a swan dive off the ugly tree and hit every branch on the way down. She's got nasty parents, not a dime to her name, maybe like two teeth in her nasty mouth, has serious codependency issues and tries WAY too hard to get Marius to like her. She lies, she steals, she throws hissy-fits, and stalks the man she's obsessed with. Generally speaking, she's the Most Miserable of anybody else in the book. Save for maybe Fantine. But who cares about her, right? She wasn't in love with a hot young stud who didn't love her back.
But all the girls like Eponine more than Cosette (or "That [expletive] Cosette" as someone from my high school days remembered her). Let's break it down. Let's say you're in the middle of the French Revolution. You don't have a toothbrush. You don't have make-up. You don't have clothes. You live in filth. You're destitute.
You'll probably look a lot less like this:
Eponine's hot!
and a lot more like this:
Eponine's not!
But give toothless, nasty Eponine a song like 'On My Own' and suddenly every girl in every high school show choir across America not only wants to be Eponine...she thinks she is Eponine. You know the type. They're the ones who made the Jekyll and Hyde such a hit. They look around their high school and purposely develop impossible crushes on the star quarterback just so they can wander around outside in the middle of the night and sing "On my own...pretending he's besaaaaahde muuuueeeeee..."
Fortunately for Broadway, they've figured out that unrequited high school-style romance is a goldmine. Wicked was in serious trouble until they started marketing the show to teeny-boppers. Now it's a huge hit. And the secret to the show's success? Not one unrequited love song...but an entire score of 'em! Everybody's running/flying around the stage singing ballads about how nobody loves them. And audiences pay out the nose to see it every time.
I'm tellin' ya, fill a show with a bunch of girls who love guys who don't love them back and you'll have a hit on your hands. And you can take that to the bank.
9 comments:
but, you see, there's nothing more romantic than living out a Thomas Hardy novel...tragic, unrequited, miserable, and beautiful...it's all I've ever dreamed of! And besides it's soooo much easier to be obsessed with someone who doesn't love you back than to actually be in a relationship with them. Relationships are hard work - like my job....uh...yeah...my job - but obsessions and unrequited love are EASY!!! and in the end, actually a little more romantic. also, let's face it nobody likes a goody-two-shoes: Cosette. She's easy to hate. Kind of like me.
Ah, yes. The tragic subplot girl. She is always SO much more interesting than the goody two-shoes heroine! (Who wants to be Sandy when you can be RIZZO?!) Especially when she goes evil, beautifully wastes away of some consumptive illness or--even better!--commits suicide. You just know that, if "Gone with the Wind" were a musical, Mellie would get all the best ballads.
would Mellie be tragically in love with Rhett Butler? Hmmm...I think I might be having an idea...if you could somehow work stonehenge into the story line, that would be good too.
Definitely. I guess that makes Ashley (what a nancy-boy he is) the tragic subplot guy, but that's just not the same.
Yes, I can see it now, a voodoo priestess tells Scarlett the only way she can win the love of Rhett Butler is to make a human sacrifice at Stonehenge, and that's where Mellie gets her tied-to-a-stone-slab, end-of-Act-I tearjerker ballad. Then Scarlett starts stabbing (in dramatic silhouette, natch) amid screechy violin music as the curtain falls. Oooh, I like it!
Weird how this blog's comments keep coming back to druidical human sacrifice... hmmmmm.
Maybe we're just getting in touch with our pagan roots. We're all a little bit pagan, you know! By the bye, the musical is shaping up nicely...i think our Mellie should have an Aretha-esque voice. What d'ya think?
Sounds good--whereas Scarlett is your typical soprano. Maybe Mellie could even be mixed-race (throw in a little Showboat, there). I think in Act II Mellie should come back as a ghost seeking revenge. Maybe her restless spirit is what "spooks" Bonnie Blue's horse!
Can I say, that I find, filthy probably plague invested and gingivitus ridden Eponine hotter than movie slut Eponine?
Specially with her tossing that baby. Woman knows where her priorities are.
Gray Ham - Best comment ever? I certainly think so.
Kudos, Gray Ham. Bravo, friend.
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