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Here are the four main musical characterizations I've seen of a nasty woman we all love to hate.

Whenever I want to shorten her name, I've used "Thénardiess," Charles Wilbour's translation of Hugo's "la Thénardier" ("the Thénardier woman").

The Giantess

            This boisterous, imposing Mme. Thénardier embodies Hugo’s description of the character as a “mastodon,” who “swore splendidly” and could crack nuts with her fist. She’s typically a very large, masculine-looking woman, with a gruff, booming voice, but regardless of what she looks or sounds like, her personality is larger-than-life. She’s loud, coarse, money-grubbing, hard-drinking, and fun-loving, yet with a monstrous temper. Her abuse of Cosette is ferocious: while her bellowing might get laughs just for being so over-the-top, they won’t laugh at the way she grabs, shoves, and threatens to beat the little girl. But apart from this, she tends to be the more comical Thénardier spouse compared to her slimier, more sinister husband, and she gleefully hams up all her comic business: faking sobs at the news of Fantine’s death and over her fake baby in “The Robbery,” slapstick at the wedding, etc. Yet broadly funny though she is, she isn’t stupid. It varies whether she comes across as her husband’s equal partner in crime or a the real “brains of the outfit,” but either way, her brutish exterior hides a scheming mind, and though she bickers nonstop with Thénardier, he couldn’t get by without her. At any rate, he won’t dominate her; this Thénardiess is indominable.

The Witch

         This Mme. Thénardier is less physically imposing than the Giantess, but she’s arguably more sinister. She tends to be thin, angular, and bony, and she likely has big teeth with a gap or two in them. Physically, she’s all sharp edges, more like a stereotypical witch (hence her name) than like Hugo’s “ogress.” Those sharp edges extend into her personality too. Where the Giantess tends to be the more comical of the Thénardiers while her husband has a darker edge, the Witch is the more serious and blatantly ruthless of the two: the embodiment of the villainy her husband hides behind his amiable façade. Her humor is sarcastic and bitter, and while her abuse of Cosette is probably less loud than other Mme. Thénardiers’, it’s more venomous, without playing any lines for laughs. Whether she comes across as her husband’s equal partner in crime or as the one in charge will depend on the portrayal of her husband, but either way, she’s at least just as cunning as he is and likely more so. It’s also likely that within her sharp, sinister demeanor, there’s a hint of mental instability. If the novel’s version of Éponine were to live to middle age, marry a man she didn’t love, and become much less sympathetic, she would probably resemble this version of her mother.

The Oppressed Oppressor

            While still a comic character and still a villain, this Mme. Thénardier is more sympathetic than others. While the Giantess best captures the grotesque and brutal qualities of Hugo’s character, this one captures her pathetic aspects. Like Hugo’s Thénardiess, this one is dominated by her more cunning husband, and he treats her shabbily. Throughout “Master of the House,” he’ll be shown treating her more like a servant than a wife, and when Valjean arrives, Thénardier will direct her every move: when to feign tears, when to stop, when to fish for more money, when to stop so as not to seem greedy, etc. It’s clear that she’s both bitter and utterly exhausted by this life. Yet at the same time, she might convey unrequited love for her husband. (Foreshadowing her daughter’s plight?) During “Master of the House” she might genuinely try to attract him, only for him to repulse her and flirt with younger women. Thus, her string of insults toward him stems from weariness and hurt, and she makes it comical as a coping mechanism. Of course, none of this can excuse her treatment of Cosette (who clearly serves as an outlet for her general frustration), or her willing role in all her husband’s schemes. But whether we like her or not, we understand where she’s coming from.

The Fallen Beauty

When typing up the instructions, the pharmacist or technician was probably using shorthand in the computer, which automatically translates into text a patient can understand. The shorthand for this would have originally been ‘2 pfs po q4h prn hs’, where ‘prn’ stands for ‘as needed’. And there was a typo, so ‘prn’ became ‘pr’, which stands for ‘per rectum’ (aka rectally). I’ve done this myself on accident with ‘diabetes’ (DIAB) and ‘diarrhea’ (DIA), as well as prn and pr. 

Sure a dress is meant to be worn, BUT- this dress fundamentally wasn’t meant to be worn by Kim. The dress DID NOT FIT HER. The whole stylization of this dress was about how it was form fitting, skin tight, literally sewed around Marilyn’s body