The Supporting Cast
The Overall Look
Although the costumes were assembled from all over (stock, thrift stores, actors' clothing, borrowing), the cast as a whole still looked unified.
Second from left in the top row, Cosette wearing her wedding dress. The dress was a lucky find, because it was already period looking (more than her regular dress) and fit the actress without alterations. It was the actual wedding dress of the mother of the actor of Marius, who turned it over entirely to the production. The back is pretty revealing, but the actress wore a lacy camisole underneath, and it was indistinguishable from the audience.
A number of characters appear in here who never got their own single photographs:
The student revolutionaries with their red ties, 3rd and 4th from back left
The priest who helps Valjean start his new life, wearing a repurposed graduation gown, 7th from back right
Javert, for whom it is a travesty that no single pictures surface, 4th from back right. He wears an identical coat to Valjean's, but in black instead of blue. Dressing them alike visually paired them, as two of the central pillars on which the story turns.
The Judge in the false Valjean's trial, 4th from middle right. Not wearing his jacket, but he was dressed in a tailcoat in a costume copied directly from a period illustration.
Second from left in the top row, Cosette wearing her wedding dress. The dress was a lucky find, because it was already period looking (more than her regular dress) and fit the actress without alterations. It was the actual wedding dress of the mother of the actor of Marius, who turned it over entirely to the production. The back is pretty revealing, but the actress wore a lacy camisole underneath, and it was indistinguishable from the audience.
A number of characters appear in here who never got their own single photographs:
The student revolutionaries with their red ties, 3rd and 4th from back left
The priest who helps Valjean start his new life, wearing a repurposed graduation gown, 7th from back right
Javert, for whom it is a travesty that no single pictures surface, 4th from back right. He wears an identical coat to Valjean's, but in black instead of blue. Dressing them alike visually paired them, as two of the central pillars on which the story turns.
The Judge in the false Valjean's trial, 4th from middle right. Not wearing his jacket, but he was dressed in a tailcoat in a costume copied directly from a period illustration.
Wedding Guests
at Cosette's marriage to Marius
These actors also played poor peasants, so they needed a change to indicate that they were now upper-class wedding guests, without full costume changes. Therefore the ladies get lace shawls cut in the same pattern as Madame Gillenormand's fichu. The gentlemen were instructed to neaten up their ties, but only the Young Man, here in the middle of the frame, got any kind of evening coat.
These actors also played poor peasants, so they needed a change to indicate that they were now upper-class wedding guests, without full costume changes. Therefore the ladies get lace shawls cut in the same pattern as Madame Gillenormand's fichu. The gentlemen were instructed to neaten up their ties, but only the Young Man, here in the middle of the frame, got any kind of evening coat.
The Flower Seller
Marguerite, a friend of Fantine
Marguerite is an example of the poor women in the show. She wears a petticoat, a dress, an apron, and a kerchief. The women in the show wore kerchiefs instead of mob caps to indicate the time period to the audience, even though mob caps were still worn to some extent. The Flower Seller's bright red kerchief was inspired by an image of a flower seller from Godey's Ladies' Book. Though the image dated from the 1850s, the girl's bright colored headscarf still fit the period. Marguerite wears a bright kerchief as an advertisement for her flowers.
Marguerite is an example of the poor women in the show. She wears a petticoat, a dress, an apron, and a kerchief. The women in the show wore kerchiefs instead of mob caps to indicate the time period to the audience, even though mob caps were still worn to some extent. The Flower Seller's bright red kerchief was inspired by an image of a flower seller from Godey's Ladies' Book. Though the image dated from the 1850s, the girl's bright colored headscarf still fit the period. Marguerite wears a bright kerchief as an advertisement for her flowers.
Sister Simplicity
the nun who watches over Fantine when she is sick
Her habit is based on that of real nuns. The head covering is two squares of fabric: a white one wrapping her hair and a black one pinned over it. She wears a black dress and a simple rectangular apron, as well as a cross necklace, belt and rosary. She wears all the visible accessories of a nun. Especially given that the actress had a 30 second change to get into this costume from the garb of a young man, this nun's garb is very detail-laden.
Her habit is based on that of real nuns. The head covering is two squares of fabric: a white one wrapping her hair and a black one pinned over it. She wears a black dress and a simple rectangular apron, as well as a cross necklace, belt and rosary. She wears all the visible accessories of a nun. Especially given that the actress had a 30 second change to get into this costume from the garb of a young man, this nun's garb is very detail-laden.
Victor Hugo
author of the book Les Miserables and narrator of the play
Victor Hugo is dressed as a gentleman from the 1860s because he published Les Miserables in that decade. Notable differences from the 1830s garb of the other actors include his collar, which lies flat like modern collars, and his coat, a reasonable approximation of the 1860s sack coat. Hugo's dress is consciously ill-fitting and drab, because he was not very successful during the latter half of his life, and Les Miserables was not celebrated until after his death.
During the run of the show, the actress wore her hair in a french braid with the tail tucked into her collar to look more masculine.
Victor Hugo is dressed as a gentleman from the 1860s because he published Les Miserables in that decade. Notable differences from the 1830s garb of the other actors include his collar, which lies flat like modern collars, and his coat, a reasonable approximation of the 1860s sack coat. Hugo's dress is consciously ill-fitting and drab, because he was not very successful during the latter half of his life, and Les Miserables was not celebrated until after his death.
During the run of the show, the actress wore her hair in a french braid with the tail tucked into her collar to look more masculine.
