Who is aaron tveit in les miserables

It's a fully fleshed-out world. By the time Enjolras enters the novel as the magnetic leader of the ABC Club and tavern, he has already amassed a fascinating backstory, which Hugo promptly spills.

That was like gold for me as an actor. Enjolras' only love was liberty, and he was dedicated to the revolution, but he was a very gentle person.

As far as women were concerned, he wasn't like the rest of his girl-crazy compatriots. He was so focused on the ideals of this revolution that anytime a young lady was around, he'd shamefully lower his eyes. Such an eloquent description of him! I literally printed out those two pages of his description of Enjolras and pasted on the front of my script.

Every morning I would look it over before we began shooting. The character first caught the actor's eye in the original Broadway Les Miz , circa the late '90s and sans Maguire. I'd seen shows before, but I think it was the first time I really had been emotionally invested in going to see a play on Broadway, and it really struck me. The heroic aspects really pulled me in.

I remember it distinctly as being one of those shows that always stayed with me. Then, by the time I started working and got to New York, the timing was off. When I moved to New York, the original had closed and the revival was being cast and I was doing something else, so I kinda never got a chance to do it on stage.

It was amazing to me that my first chance to be a part of it was in this film. The film deals his Enjolras a particular strong hand musically.

Also, it's the whole ensemble, but I have a great part in 'One Day More. There's a lot of recitative and sung-through dialogue. The tricks of making movie musicals go down in this day and age vary with the decade, it seems. With 's "Chicago," the last musical to get a Best Picture Oscar, director Rob Marshall resorted the Benihana quick-cuts and cerebral voice-overs to hide the fact that somebody just broke into song. The fact that the characters break into song — this is the way we live and breathe and communicate.

When you're in the theatre, you go on that emotional ride. It's the music that ties you in, but I think that there's a disconnect sometimes in movie musicals when people start singing and you sit there as a member of the audience and think, 'Oh, they're singing now. Here, because you're singing live, you go on the same emotional ride that you would if you were in the theatre watching a play.

Of course, it's not the easiest trick in the world to pull off, and only practiced stage people need apply. You're doing it over and over and over again. Whenever possible, Tveit opted for the piano and his own voice, a mix that was closest to what he is accustomed to onstage.

So if I can hear myself in my ear, it really helps me to find that balance of how loud I needed to be singing. Tveit found it helpful to keep the novel in mind as well as the real young revolutionaries who put their lives on the line for their anti-monarchist ideals. Tveit says he also got into the headspace of a revolutionary leader on the brink of a grassroots uprising by thinking about contemporary activists.

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