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An excellent and large collection of promotional and cast & crew gifts from Les Miserables
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LES MISERABLES
Collection of Promotional and Cast & Crew Gifts. A large group including an original brad-bound production script; a signed print after Ken Fallin in the Hirschfeld style dated 2006, the overall framed display 20 x 25 inches; an original show poster, framed, 22 x 14 inches; and a later framed show poster with "She's Back"; a large print of the “Warhol Style” Variety cover from the 10th Anniversary of the show, this 24 x 33 inches, spotting; and with a copy of the original Variety magazine dated 1997; and various promotional items such as a watch; a clock paperweights commemorating tours; two framed photographs; and various large-format programs, ephemera, Playbills, etc.
Technical Production Manager Jake Bell's memories of Les Misérables:
Les Misérables was created by Claude-Michel Schönberg and Alain Boublil, who wrote the book and music. The show was produced globally by Cameron Mackintosh and co-directed on Broadway by Trevor Nunn and John Caird. Nominated for 12 Tony Awards, it went on to win eight, including Best Original Score and Best Musical.
Based on the historic novel by Victor Hugo, Les Misérables is set in 19th-century France. The musical marked a departure from traditional theater of the time, as it was entirely sung-through with no dialogue, unlike most musicals that included spoken lines. Initially produced in Paris, the show wasn’t a huge success. However, when it opened in London, it quickly became a massive hit, eventually becoming the longest-running show in West End history. Shortened from a sprawling 1,463-page novel, the musical condensed Les Misérables into a captivating three-hour performance that captivated audiences worldwide.
When Les Misérables first opened in London, it did not rely on computerized automation. But when the production moved to New York, we faced the challenge of engineering the turntable cueing system to be controlled by computers. In London, the turntable was operated manually, but the computerized system in New York allowed for greater accuracy and consistency in its movement. Essentially, the speed of the turntable was controlled like the accelerator in a car, gradually increasing to the right speed for each scene before slowing down smoothly, with no abrupt stops or jerks—critical to ensure the performers wouldn’t stumble or fall. Actors and stagehands had to be trained to step onto and off the moving turntable, which was similar to walking on a moving walkway or an escalator, but with varying speeds and directions, all while lighting conditions could range from complete darkness to full exposure.
This was the first time anyone had choreographed a moving turntable like this. There were more than 63 turntable cues alone, and it was essential that stagehands carefully stepped on and off the rotating platform upstage while placing set pieces—without interfering with the live action downstage. Every movement was precisely choreographed, and lighting cues had to match perfectly.
One of the most complex technical feats involved the huge barricades, which moved in from both sides of the stage. These barricades were mounted on tracks that had to align perfectly with those on the turntable to meet at center stage as a single cohesive element. The barricades needed to fit precisely onto the turntable, allowing them to rotate for full visibility during the dramatic scene of the first battle of the French Revolution.
The marketing artwork for the show, created by De Wynters of London, was equally innovative and engaging. The character of Cosette appeared in various promotional materials across the globe. She was featured in unexpected places like the Gateway Arch in St. Louis, a streetcar in San Francisco, and in front of the Hollywood sign in LA.
No condition report? Click below to request one. *Any condition statement is given as a courtesy to a client, is an opinion and should not be treated as a statement of fact and Doyle New York shall have no responsibility for any error or omission. Please contact the specialist department to request further information or additional images that may be available. Request a condition report
LES MISERABLES
Collection of Promotional and Cast & Crew Gifts. A large group including an original brad-bound production script; a signed print after Ken Fallin in the Hirschfeld style dated 2006, the overall framed display 20 x 25 inches; an original show poster, framed, 22 x 14 inches; and a later framed show poster with "She's Back"; a large print of the “Warhol Style” Variety cover from the 10th Anniversary of the show, this 24 x 33 inches, spotting; and with a copy of the original Variety magazine dated 1997; and various promotional items such as a watch; a clock paperweights commemorating tours; two framed photographs; and various large-format programs, ephemera, Playbills, etc.
Technical Production Manager Jake Bell's memories of Les Misérables:
Les Misérables was created by Claude-Michel Schönberg and Alain Boublil, who wrote the book and music. The show was produced globally by Cameron Mackintosh and co-directed on Broadway by Trevor Nunn and John Caird. Nominated for 12 Tony Awards, it went on to win eight, including Best Original Score and Best Musical.
Based on the historic novel by Victor Hugo, Les Misérables is set in 19th-century France. The musical marked a departure from traditional theater of the time, as it was entirely sung-through with no dialogue, unlike most musicals that included spoken lines. Initially produced in Paris, the show wasn’t a huge success. However, when it opened in London, it quickly became a massive hit, eventually becoming the longest-running show in West End history. Shortened from a sprawling 1,463-page novel, the musical condensed Les Misérables into a captivating three-hour performance that captivated audiences worldwide.
When Les Misérables first opened in London, it did not rely on computerized automation. But when the production moved to New York, we faced the challenge of engineering the turntable cueing system to be controlled by computers. In London, the turntable was operated manually, but the computerized system in New York allowed for greater accuracy and consistency in its movement. Essentially, the speed of the turntable was controlled like the accelerator in a car, gradually increasing to the right speed for each scene before slowing down smoothly, with no abrupt stops or jerks—critical to ensure the performers wouldn’t stumble or fall. Actors and stagehands had to be trained to step onto and off the moving turntable, which was similar to walking on a moving walkway or an escalator, but with varying speeds and directions, all while lighting conditions could range from complete darkness to full exposure.
This was the first time anyone had choreographed a moving turntable like this. There were more than 63 turntable cues alone, and it was essential that stagehands carefully stepped on and off the rotating platform upstage while placing set pieces—without interfering with the live action downstage. Every movement was precisely choreographed, and lighting cues had to match perfectly.
One of the most complex technical feats involved the huge barricades, which moved in from both sides of the stage. These barricades were mounted on tracks that had to align perfectly with those on the turntable to meet at center stage as a single cohesive element. The barricades needed to fit precisely onto the turntable, allowing them to rotate for full visibility during the dramatic scene of the first battle of the French Revolution.
The marketing artwork for the show, created by De Wynters of London, was equally innovative and engaging. The character of Cosette appeared in various promotional materials across the globe. She was featured in unexpected places like the Gateway Arch in St. Louis, a streetcar in San Francisco, and in front of the Hollywood sign in LA.
No condition report? Click below to request one. *Any condition statement is given as a courtesy to a client, is an opinion and should not be treated as a statement of fact and Doyle New York shall have no responsibility for any error or omission. Please contact the specialist department to request further information or additional images that may be available. Request a condition report
Stage & Screen
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Important Information
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Popular Stage & Screen Auction on Thursday, June 5, 2025 at 11am
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Memorabilia, Autographs, Artwork & Photographs of the Theater, Hollywood, Music and Dance
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Hosted in Collaboration with the Entertainment Community Fund (Formerly the Actors Fund)
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Consignments Are Currently Being Accepted for Future Auctions
NEW YORK, NY -- Doyle will host the popular Stage & Screen auction on Thursday, June 5, 2025 at 11am. Fans and collectors around the world will be delighted by the exciting offerings celebrating the performing arts of Theater, Hollywood, Music and Dance.
Highlights include:
- Marin Hinkle’s Screen-Worn Costumes as Rose Weissman on The Marvelous Mrs. Maisel
- Alex Borstein's iconic newsboy cap worn as Susie Myerson on The Marvelous Mrs. Maisel
- The Bob Mackie beaded evening jacket worn by Carol Burnett at the 2019 Golden Globes
- Broadway Technical Production Manager Jake Bell’s memorabilia of The Phantom of the Opera, Les Misérables, Miss Saigon
- Includes the silver “Christine” mask worn in the final performance of Phantom in April 2023
- Costume “Bibles” from Broadway costumer Barbara Matera including Angels in America, Phantom, Mame and RENT
- Items from the career of actor Tony Roberts, including original Al Hirschfeld artwork and photographs of Woody Allen films
- Scripts and letters signed by Stephen Sondheim, Richard Rodgers, Gypsy Rose Lee, Tennessee Williams and others
- An erotic “Bag One” print signed by John Lennon
- The rare photographically illustrated volume commemorating Cecil B. DeMille's epic The King of Kings
- An original caricature by George Gershwin
- An autograph album and copy of Fantasia signed by Walt Disney
- Musical items signed by Igor Stravinsky and John Cage
- A very large painting after the famous photograph of Mick Jagger and Francoise Hardy
- The Azzedine Alaïa dress worn by Julianne Moore at the 2022 Venice International Film Festival
The Entertainment Community Fund – Lots 501-519
Recognizing the importance of the performing arts to the fabric of New York, Doyle is proud to collaborate on this auction with the Entertainment Community Fund (formerly The Actors Fund), a 501(c)(3) charitable organization. Lots 501 through 519 will be auctioned to directly benefit the Fund, and Doyle will donate 100% of our Buyer's Premium on these lots. Featured are stylish costumes donated by actress Marin Hinkle for her role as Rose Weissman in The Marvelous Mrs. Maisel. Also from Mrs. Maisel is Suzy Myerson’s iconic newsboy cap from actress Alex Borstein. From Carol Burnett is a Bob Mackie beaded evening jacket worn to the Golden Globes, and from Julianne Moore is an Azzedine Alaïa dress worn to the Venice International Film Festival.
Property of Technical Production Manager Jake Bell – Lots 520-537
Jake Bell has had a legendary career in the theater as Technical Production Manager for Sir Cameron Mackintosh's iconic musicals. Bell managed some of the most dazzling and technologically advanced stage elements in theater history: the famous falling chandelier in The Phantom of the Opera, the flying helicopter in Miss Saigon, the barricade of Les Misérables and so much more. Among the collection's highlights are annotated production books, scripts, props and memorabilia from Cats, Les Misérables, Miss Saigon, A Chorus Line and Phantom of the Opera, including a stage-worn Phantom mask presented to Bell at the April 2023 closing performance.
The Estate of Tony Roberts – Lots 579-589
New York native Tony Roberts (1939–2025) was a prolific stage and screen actor with a career spanning over six decades. A two-time Tony award nominee, he appeared in 23 Broadway productions, among them David Merrick’s Barefoot in the Park, Arsenic and Old Lace, and Promises, Promises, for which he won the London Critics Poll Award for the West End production. Among his numerous screen credits are six Woody Allen films, including Annie Hall, Play It Again, Sam and Star-Spangled Girl. He performed in New York City Opera's Brigadoon and South Pacific, and played Scrooge in A Christmas Carol at Madison Square Garden. Collection highlights feature original illustrations by Al Hirschfeld depicting Roberts in Arsenic and Old Lace and Doubles, his script from Star Spangled Girl, and a large group of awards and memorabilia.
“Costume Bibles” of Barbara Matera
Barbara Matera (1929-2001) was one of the foremost costume designers and creators of costumes on Broadway, working on more than 100 shows between the 1970s to the early 2000s. It was her invariable practice to create a costume bible for every show, with copies of the original designs, specimens of the fabrics used, and notes on the sources of those fabrics. This enabled repairs and new copies of costumes to be consistently assembled over the course of a show. Featured in the sale are costume bibles for Angels in America, Evita, La Cage aux Folles, Phantom of the Opera, RENT and even the Rolling Stones 1994 Voodoo Lounge Tour.
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