Craig's Column #1

My Life in Les Misérables

"At the center of this production ... is Craig Schulman's towering, marvelously heroic portrayal of Valjean-searingly acted and so magnificently sung that on opening night he literally stopped the show." — Chicago Sun Times

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After so many performances, it is extremely gratifying to know that my performance continues to touch people so deeply, and I want to thank everyone for your time and kind words. In the coming months, I will present my curriculum vitae in this column, and then you will know more than you ever wanted to regarding The Phantom of the Opera, Jekyll & Hyde, Les Misérables and the rest of my career.

Jean Valjean is the role for which I am most well known. I have performed Valjean more than 1,900 times, more than any other actor in the world. My association with Les Misérables began in October, 1987, with the commencement of rehearsals for the First National Company of Les Misérables in New York City. I was originally hired as a member of the ensemble (the Brujon track) and as a cover for Valjean. We rehearsed in New York for seven weeks, then moved to Boston, where the tour opened on December 18, 1987, at the Shubert Theatre.

One month later, after only four understudy rehearsals, I made my debut performance as Jean Valjean on January 18, 1988 (Sen. Ted Kennedy was in the audience) and took over the role two-and-a-half months later at the end of March.

I went on to complete the run in Boston; opened in Washington, D.C. at The Kennedy Center in July, 1988; opened at the Forrest Theatre in Philadelphia in October, 1988; and finally, opened at the Auditorium Theatre in Chicago in March of 1989.

My second son, Eric was born in Chicago at Women's Hospital in July, and I left the tour on Labor Day Weekend, in September 1989, after nearly two years with the tour.

I made my Broadway debut as Valjean in January, 1990, at the Broadway Theatre. I was the fifth artist to play the role in this Company, and was with the Company when it made its historic move to its current location at the Imperial Theatre in October, 1990. After completing a yearlong run, I left the Broadway Company for the first time in January, 1991.

I then returned to Broadway the following August for two weeks. From June, 1992 through February, 1993, I led a Canadian National Tour, starring opposite my good friend Merwin Foard, to Winnipeg, Edmonton, Vancouver, Calgary, Hamilton, Honolulu (I didn't realize that Hawaii was a Province, either!), Regina, Saskatchewan, and finished in Toronto in February, 1993.

I joined the Broadway Company for the third time from June through October 1993. I went to Singapore with the Third National Company (Bus and Truck) from January, 1994 through April, 1994, and then rejoined the Broadway Co. from June through January, 1995.

I appeared as one of the 15 "International Valjeans" at the 10th Anniversary Concert in London in October, 1995 (beardless, on PBS); then back on Broadway for my (5th) Les Mis contract, January through September 8, 1996. Then on to Honolulu for three weeks in September '96 with The Third National Company.

I returned to Broadway again in March '98 through September '98 for an unprecedented 6th Broadway contract. (Whew!)

The role of Valjean is an incredibly difficult undertaking. Aside from the obvious vocal demands, the role is physically demanding, requiring stage combat, as well as lifting and carrying several of the other cast members around the stage at every performance. Having been blessed with vocal "Chords of Steel", I have been able to sing Valjean for long stretches of time. Some people claim that I never sound tired, but I can assure you that I often am!

After so many years, keeping each performance fresh is an ongoing process. I like to treat a run in the show as a work in progress. I constantly try to find ways to experiment with the delivery of my lines. I listen very carefully to what my colleagues are doing around me, and try to find new acting 'beats' and reactions.

Of course, having worked with so many diverse, talented actors in the different companies has been a help, as each individual brings something new to the storytelling. I also enjoy the occasional technical glitches: they offer the challenge of how to respond to a problem without alerting the audience; making you think on your feet, relying on your instincts and of those around you (on and off-stage!), sometimes coming up with new ideas as a result.

For example, at one performance, a knife which was supposed to have been placed on a table at the Barricade was somehow missing. Of course, I didn't become aware of this until it was time for me to cut Inspector Javert loose from his bonds. I untied him by hand, and convinced everyone onstage that I had broken his neck!

I believe that I instinctively modeled my interpretation of Jean Valjean after my Dad. He was a spiritual, philosophical man, and loved his family more than anything. He was generous and empathetic, and after he passed away in 1991, his memory continued to shape my rendition of the role. Earlier, I had used my imagination to shape the pain and loss that Valjean feels. Following my father's death, I knew of it firsthand.

Following the loss of my 6 year old daughter in 1998, Jenna, many have commented that my concert interpretation of 'Bring Him Home' is suffused with an even higher sense of poignancy than ever before. Sadly, a case of my life imitating my art. As an actor, I now have firsthand experience with such devastating loss.

Fortunately, I am able to use my personal experience to raise the level of my artistry. Often, when I sing this song, I sense Jenna's presence around me.

I am grateful to have been given an opportunity to play such a magnificent role. I feel extremely fortunate to have been blessed with the training, stamina and talent that have allowed me to become so successful in this role.

Les Misérables has truly graced my life, allowing me to begin what has become a successful concert career, and as a stepping stone to new roles and allowing me to build a reputation as a first class performer.