The Queer Community Brings a Unique Look into Les Misérables

Les Misérables made its Broadway debut 36 years ago. The musical was a smash hit and continues to run in the West End, making it the longest-running musical in England. Since its debut, it has been seen by over 130 million people worldwide in 53 countries, 438 cities, and 22 languages. It has also spawned a theatrical release starring Hugh Jackman and Anne Hathaway, and a series of filmed mega concerts. As a theatre kid addicted to big anthem musicals, I know the early recordings more than too well.

Les Mis is on tour again, coming to Southern California at the Pantages until September 10^th and Costa Mesa’s Segerstrom from the 19^th to October 1^st. The production has been redirected and overhauled. Gone is the usual roundtable that thrilled audiences in the 80s and gone is the idea of traditional casting. The show has new vigor, new life, and a very diverse cast. This is Les Mis for today’s generation, as in reality, we face a nation torn in political strife. If only singing show tunes in real life was appropriate.

Starring as the leading heroines Fantine and Eponine are Haley Dortch and Christine Heesun Hwang, respectively. To the roles, they bring a fiery passion and youthfulness that is what the original characters had intended to be. They both identify as part of the queer community, which offers a unique look at the love and loss experienced by their characters. Both sing two of the most popular songs from the show, “I Dreamed A Dream” and “On My Own,” songs that have become part of any theatre singer’s library of showstoppers.

Haley Dortch

Haley Dortch makes her national tour debut with this production. A musical theatre student at the University of Michigan, she auditioned for the show regardless of the fact that she didn’t have an agent or manager, nor was part of the Actor’s Equity. Initially auditioning for the role of Eponine, she landed the role of Fantine.

This is your national tour debut! What are some of the realities you had to get used to right off the bat in touring a musical?

Learning how to take care of my mind and body has been the biggest reality I’ve had to face. This is my first professional job, and my first time being away from home, so it has been a very large adjustment learning the right things to eat and when to rest.

How have you made an iconic character like Fantine all your own?

Making Fantine my own has come to me organically because I have a different lived experience than anyone who has played the role before. Trying to imitate any other actor’s performance benefits no one. Sharing honestly is the best way to find it!

What do you do backstage between your big scene in Act 1 and the end of Act 2?

Funnily enough, I usually eat lunch or dinner. I’m so fortunate to have a half-hour break before I have to be in the ensemble on the barricade!

What is your favorite moment on stage?

The Epilogue! It is so nice to have nearly the entire cast onstage, challenging the audience to join our crusade.

What makes this production different than other Les Mis that we have seen?

Coming back after the pandemic, we learned as artists and audiences what it is like to not experience live theatre.  This production of Les Misérables carries this knowledge.

How does being a queer artist play a part in your creative process for Fantine?

Again, because I have a different lived experience as a black, queer woman, naturally the way I portray Fantine is different. The point of view I bring reflects the choices I make as the character.

What is your pre-show ritual?

Warming up for the show and listening to some good music!

What is your after-show ritual?

Eating something sweet like ice cream and having a decompressing, fun evening.

What do you want audiences to walk away with most from your performance?

I want them to see Fantine’s strength in her vulnerability. It would’ve been so much easier for her to give up, but because of her endless love for her daughter she is determined and persistent to carry on and I feel that message can speak to a lot of people.

You can follow Haley on IG: @HaleyDortch

Christine Heesun Hwang

Christine Heesun Hwang is a queer, Korean American playwright and actor based in New York and Seattle. Originally from Iowa, she attended Ithaca College for a BFA in musical theatre before leaving to join the national tour of Miss Saigon as the Kim alternate. As a playwright, she has been a part of Ashland New Plays Festival and Williamstown Theatre Festival. She is an alum of the National YoungArts Foundation and Spotlight Education and encourages continued support and development for all youth arts education programs.

How has being a writer affected your approach to developing the character of Eponine?

Text! Text, text, text. While my beginnings and roots are very much in music, I feel that every time I approach any piece of work I first focus on the text. It is also a blessing that the source material is that good. Victor Hugo was not messing around. [Laughs] Finding my way through the incredible work of Hugo, as well as the thoughtful lyricism of Herbert Kretzmer, has really guided me in creating my own rendition of Eponine.

“On My Own” is an iconic song for sure. How did you approach the song in making it your own but paying homage to what audiences expect from it?

I’m blessed that there have been so many exquisite performances of the role! I’ve had a multitude of versions of Eponine to study and learn from. A lot of paying homage to what audiences expect from the role is paying homage to those who have come before me. Frances Ruffelle, Lea Salonga, even my good friend Emily Bautista… I believe each performer who has played Eponine has made it their own while also paying respect to what they’ve learned from listening to and watching Eponines of the past.

What do you say to critics that say racially diverse casting is making musical theatre too woke?

Those critics are asking the wrong question.

What is your favorite moment on stage?

I love performing “A Heart Full of Love” with my lovely colleagues, Addie Morales and Gregory Lee Rodriguez. When Addie, who plays Cosette, picks me up off the ground after the “Attack on Rue Plumet,” It’s the first time she sees me post-everything! And it’s always a moment I look forward to. I also love “Attack on Rue Plumet” because I love a good fight. [Laughs]

What makes this production different than other Les Mis that we have seen?

Gosh, I could go on for hours about this one. At the heart of it all, this company has a bond and sort of energy that I haven’t experienced often in theatre. There’s such a love within the company that extends so evidently into the work we put on stage. Through our ups and downs, there’s a resilience and commitment towards creating this piece with integrity that makes it an honor to come in and perform the show, eight times a week.

How does being a queer artist play a part in your creative process for Eponine?

Part of me wants to be like — WHAT ABOUT COSETTE?! She’s WAY cooler than Marius! All jokes aside, I care deeply about performing this well and understand that there may be an assumption about my performance due to my sexual orientation. To that I say, who cares? It’s been the story of my entire life. Whether or not it affects my performance as Eponine, I’m unsure. My queerness is the foundation of who I am as Christine Heesun, the artist, though.

What is your pre-show ritual?

I always eat crazy early. Like 4 PM. For my mental and physical, I tend to go on runs or do some sort of workout throughout the week. I also have a “word of the day” that I center myself on. Then, I take a deep breath, thank my ancestors and all that watch me from above, and do the dang thing.

(Oh, and brushing my teeth, too.)

What is your after-show ritual?

I limit using my voice as much as possible. With long runs like these, combined with constant travel, I found that it’s better to stop talking and rest as soon as I can. I always have a wind-down snack, and usually end the night with a book or some video games. Helps rinse the show off and get me back to being me.

What do you want audiences to walk away with most from your performance?

I hope that they take away what they need to take away from the performance. Whether that means reminiscing their own past loves, their youth, or even the first time they’ve heard Les Mis… I want them to leave with an experience that allowed them to open their heart for three hours alongside my company and me.

You can follow Christine on IG: @chiseoni

For tickets to Les Misérables, head to LesMis.com