The Hunchback of Notre Dame (musical)
|The Hunchback of Notre Dame|
Original cast recording, cover art
|Basis||Disney film The Hunchback of Notre Dame and elements of Notre-Dame de Paris by Victor Hugo|
The Hunchback of Notre Dame is a musical based on the 1996 Disney film of the same name, which in turn was inspired by the 1831 Victor Hugo novel of the same name. It has music by Alan Menken, lyrics by Stephen Schwartz, and book by James Lapine. The musical premiered in 1999 in Berlin, Germany as Der Glöckner von Notre Dame (literally translated in English, The Bellringer of Notre Dame). It was produced by Walt Disney Theatrical, the company's first musical to premiere outside the U.S. It ran for three years, becoming one of Berlin's longest-running musicals. It is a lot closer to the original source material than the film.
The Hunchback of Notre Dame has been highly praised due to its darker mature tone, and its gothic set design, among other things.
The first English version of the musical was performed by The King's Academy in 2013 (though other sanitised or abridged versions were also performed earlier) The musical is rumoured to be debuting on Broadway soon.
The musical opened on June 5, 1999, for the opening of the Musical theater Berlin (now Theater am Potsdamer Platz (DE)), Berlin. After a successful run, it closed in June 2002. Directed by Lapine, the German translation was by Michael Kunze, choreography by Lar Lubovitch, set design by Heidi Ettinger, costume design by Sue Blane, lighting by Rick Fisher, sound by Tony Meola and projections by Jerome Sirlin.
This was Disney's first musical to premiere outside the US, and it became one of Berlin's longest-running musicals to date. As with Beauty and the Beast and The Lion King, Der Glöckner Von Notre Dame opened three years after the release of the movie it is based on.
The musical is a darker, more gothic adaptation of the film. According to translator Michael Kunze, he was " 'campaigning to allow Esmeralda to die at the end, as she does in the book. There was a feeling that the audience would be depressed if Esmeralda dies. I feel that a European audience would see this as a very romantic ending ... two lost souls finally find each other. People will cry, but they'll be moved. And it is a very romantic ending.' " The producers wanted to see how "preview audiences react before making the final decision."
The film has been adapted into various musicals. Before 2013, these were always based on the film rather than the German stage musical. Some examples are the 2002 The Hunchback of Notre Dame: A Musical Adventure, and The Hunchback of Notre Dame - Disney-MGM Studios.
In 2008, Stephen Schwartz said, "I think we're starting up Hunchback of Notre Dame, hopefully, next year ." In a November 2010 interview, Alan Menken confirmed that he was working on an American production: "We're bringing that one back, too! ... we are still using James Lapine's book."
On January 9, 2013, it was announced that the musical will finally come on Broadway with a new book by Peter Parnell and new songs by Alan Menken and Stephen Schwartz, who did the songs for the movie and the original musical. Nothing else is known, including the release date and casting. Many news sources have noted that they hope the production retains the dark and Gothic qualities of the German stage version, which they feel was censored by Disney studios for the film.
In April 2013, an English adaptation of Der Glöckner von Notre Dame by The King's Academy Fine Arts Department was staged in The King's Academy Sports & Fine Arts Center. According to TKA, "Walt Disney Productions...selected The King’s Academy Theatre to adapt and premier their [1996 film]". The company collaborated with Disney Executive Studios. They explained via YouTube that "We received a license from Disney Productions to premiere the English version of Hunchback. Disney is now workshopping this musical for a possible run on Broadway. Our director, Mr. David Snyder, recently returned from NYC where he helped to cast talent for the new show!" This version does not include all the songs from Der Glöckner von Notre Dame, and excludes the deaths of Esmerelda and Frollo. Nevertheless, it is essentially a translation of that musical as opposed to a new adaption of the film. The entire musical is up on YouTube.
- Act I
In 1482 Paris, Clopin, an elderly gypsy beggar narrates the origin of the titular hunchback ("The Bells of Notre Dame"). Three gypsies sneak illegally into Paris, but are ambushed by the Minister of Justice, Claude Frollo, and his guards. One of the gypsy women attempts to flee with her baby, but Frollo catches her and kills her outside of Notre Dame. He also tries to kill the baby, saying that it is a child of Satan, but is confronted by the Archdeacon and accuses him of murdering the gypsy woman. Frollo accepts the Archdeacon's offer to raise the child in the cathedral's bell tower, naming him Quasimodo.
Twenty years later, Quasimodo develops into a kind yet isolated young man who dreams of seeing life outside the bell tower, but is told by Frollo that he is a monster and would be rejected by the outside world. A trio of living stone gargoyles: Loni, Antoine and Charles serve as Quasimodo's only company and friends. The gargoyles encourage Quasimodo to attend the annually-held Festival of Fools. He goes but is stopped by Frollo.The gargoyles urge him to disobey and venture out ("Sanctuary"). After Frollo leaves, Quasimodo decides to go out for just one day ("Out There").
While the Parisians continue their preparations for the festival, Clopin, King of the Gypsies, prepares his gypsies for the festival at their underground hide-out, the Court of Miracles ("Balancing Act"). Their attention is taken by a newcomer, a young gypsy dancer named Esmeralda. Meanwhile, Captain Phoebus arrives in Paris excited about his new promotion as Captain of the Guard ("Rest and Recreation"). He flirts with a young girl but is suddenly interrupted by a fleeing gypsy accused of theft. The gypsy pleads innocence but Frollo arrives and orders his soldiers to arrest the gypsy. Frollo tells Phoebus that the city has become overrun by gypsies and that he plans to find the Court of Miracles and eliminate them all.
As the Festival begins ("Topsy Turvy"), Quasimodo arrives in disguise so Frollo will not recognize him. Frollo crosses paths with Esmeralda while dancing for the crowd. Afterwards, people begin to audition for the King of Fools. Thinking Quasimodo is in costume, Esmeralda pulls Quasimodo onstage and the crowd crowns Quasimodo as their king, only to be humiliated after Frollo's men start a riot. Esmeralda intervenes and openly defies Frollo's orders to let the hunchback suffer. Esmeralda comes to Quasimodo's rescue and Frollo orders Phoebus to arrest her but Esmeralda uses a magic trick to disappear. Frollo confronts Quasimodo and sends him back to the cathedral.
Esmeralda follows Quasimodo but Phoebus catches her inside the cathedral. Frollo arrives and interrogates her but the Archdeacon orders Frollo to leave, because those in the cathedral are protected by the law of sanctuary. Esmeralda, encouraged by the Archdeacon, offers a prayer to God to help her and the outcast ("God Help the Outcasts"). Meanwhile, Frollo orders Phoebus to post a guard at every door to ensure that Esmeralda does not escape.
Esmeralda befriends and follows Quasimodo to the bell tower and is captivated by the view of the city ("On Top of the World"). To repay Esmeralda for rescuing him, Quasimodo offers to show her a way out of the cathedral. Before leaving, Esmeralda gives him an amulet leading to the Court of Miracles should he ever need to find her, and she also kisses him on the cheek. After Esmeralda leaves, Quasimodo expresses his feelings, as he has been touched by Esmeralda's kindness ("Heaven’s Light"). Frollo soon develops lustful feelings for Esmeralda and upon realizing them, he begs the Virgin Mary (referring to her as Maria) to save him from her "spell" to avoid eternal damnation ("Hellfire").
Discovering that Esmeralda escaped, Frollo asks Quasimodo where she is, but he says that he does not know. Frollo orders a city-wide manhunt to find Esmeralda. Pheobus, now realizing Frollo's evil reputation, defies him after being ordered to burn down the home of an innocent family and is ordered to be executed, but flees. Frollo and his men begin to search the city ("Esmeralda"). Phoebus is briefly injured and falls into a river, but Esmeralda rescues him.
- Act II
The soldiers continue searching the city ("City Under Siege"). Having rescued Phoebos, Esmeralda tells him to seek refuge at Notre Dame while she returns to the Court of Miracles. Meanwhile, the gargoyles convince Quasimodo that Esmeralda finds him romantically intriguing, and they reassure him about her safety ("A Guy Like You"). The Archdeacon brings Phoebus to the bell tower and Phoebus, knowing Quasimodo to be a friend of Esmeralda's, asks Quasimodo to hide him.
Frollo returns to Notre Dame later that night and realizing that Quasimodo helped Esmeralda escape, bluffs that he knows about the Court of Miracles and that he intends to attack at dawn. After Frollo leaves, Phoebus comes out of hiding and asks Quasimodo to help him find the Court of Miracles and warn Esmeralda. Quasimodo refuses to leave the cathedral again but Phoebus and the gargoyles teach Quasimodo the value of devotion and selflessness ("Out of Love").
Using Esmeralda's amulet as their guide, Quasimodo and Phoebus find the Court of Miracles. The gypsies assume them to be Frollo's spies but Esmeralda assures them that the two men are friends. Phoebus tells the gypsies about Frollo's plan and Clopin orders the gypsies to prepare to leave. Esmeralda and Phoebus decide to leave the city together while Quasimodo, heartbroken, watches Esmeralda leave with the man she truly loves ("Out of Love" (Reprise)). However, Frollo's men appears and captures them, with Frollo revealing that he had followed Quasimodo.
Esmeralda refuses Frollo's offer for freedom in exchange for becoming his mistress. Quasimodo, tied up in the bell tower, refuses to help and tells the gargoyles to leave him ("Made of Stone"). As dawn approaches, Esmeralda awaits her execution in the dungeon with Phoebus hoping that one day the world will be a better place ("Someday").
Frollo prepares to burn Esmeralda at the stake, but Quasimodo, chained up inside the Bell Tower, manages to break free and rescue her in time, bringing her to the cathedral. Phoebus then frees himself and the gypsies and rallies the citizens of Paris against Frollo and his men, who attempt to break into the cathedral. Quasimodo calls upon the saints and the gargoyles before pouring molten copper onto the streets to ensure no one enters but Frollo successfully breaks in himself . Esmeralda dies after thanking him for being a good friend. Frollo pursues Quasimodo to the balcony where he pushes Frollo towards the balcony. Encouraged by Antoine, Quasimodo throws Frollo to his death in the molten copper. The gargoyles comfort Quasimodo and tell him the world is full of good as well as evil. The Parisians watch as Quasimodo carries Esmeralda's body through the square with Phoebus by his side. Clopin appears again and asks what makes a monster and what makes a man ("Grand Finale").
- Act I
- "Die Glocken Notre Dames" ("The Bells of Notre Dame") – Clopin, Archdeacon, Frollo & Chorus
- "Zuflucht" ("Sanctuary") – Frollo, Quasimodo, Antoine, Charles & Loni
- "Draußen" ("Out There") – Quasimodo
- "Tanz auf dem Seil" ("Balancing Act") – Clopin, Esmeralda & Gypsies
- "Ein bisschen Freude" ("Rest and Recreation") – Phoebus
- "Drunter drüber" ("Topsy Turvy") – Clopin, Quasimodo & Crowd
- "Hilf den Verstoß'nen" ("God Help the Outcasts") – Esmeralda, Quasimodo & Parisians
- "Hoch über der Welt" ("Top of the World") – Esmeralda, Quasimodo, Antoine, Charles & Loni
- "Das Licht des Himmels" ("Heaven's Light") – Quasimodo
- "Das Feuer der Hölle" ("Hellfire") – Frollo & Priests
- "Esmeralda" – Frollo, Quasimodo, Phoebus, Esmeralda, Clopin & Soldiers
- Act II
- "Trommeln in der Stadt" ("City Under Siege") – Clopin & Parisians
- "Ein Mann wie du" ("A Guy Like You") – Antoine, Charles, Loni & Quasimodo
- "Weil du liebst" ("Out of Love") – Quasimodo, Phoebus, Antoine, Charles & Loni
- "Tanz der Zigeuner" ("Dance of the Gypsies") - Orchestra
- "Weil du liebst ("Out of Love (Reprise)") – Phoebus, Esmeralda & Quasimodo
- "Wie aus Stein" ("Made of Stone") – Quasimodo, Loni, Charles & Antoine
- "Einmal" ("Someday") – Esmeralda, Phoebus & Parisians
- "Finale Ultimo" ("Grand Finale") – Full Company
Roles and original Berlin cast
Source: Variety Magazine
- Quasimodo: Drew Sarich
- Esmeralda: Judy Weiss
- Phoebus: Fredrik Lycke
- Clopin: Jens Janke
- Frollo: Norbert Lamla
- Charles: Valentin Zahn
- Loni: Yvonne Ritz Andersen
- Antoine: Tamàs Ferkay
- The Archdeacon: Carlo Lauber
Differences from the original 1996 film
- The gargoyles' names have been changed from Victor, Hugo and Laverne to Charles, Antoine and Loni, after actors who have played Quasimodo in the past. The gargoyles' comedy in the musical is greatly toned down; they sing in many more songs, and they are also firmly established as figments of Quasimodo's imagination.
- Neither Esmeralda's goat Djali nor Phoebus' horse Achilles appear in the stage musical.
- Esmeralda is shown a way out of Notre Dame rather than Quasimodo climbing down, holding her.
- When narrating, Clopin appears as a crippled old beggar and no longer uses puppets.
- The song from the film "The Court of Miracles" is replaced by a dance number called "Dance of the Gypsies".
- Frollo's past is expanded to note that he was once a priest, harking back to his position as the archdeacon in the original novel.
- Esmeralda dies at the end.
- Frollo is thrown off the cathedral by Quasimodo, instead of falling from the crumbling gargoyle fixture.
- "Sanctuary", the song that consists of Quasimodo and Frollo that played before "Out There" is expanded and the Gargoyles are added in the number.
- It is the archdeacon who brings Phoebus to Quasimodo instead of Esmeralda.
The set for the original production utilized many large hydraulically controlled boxes that can be placed at every conceivable height and level, and used highly detailed photographic images. The finale of act one shows Phoebus' plummet from a bridge over the Seine after being shot by an arrow.
The bell effect is produced live in the orchestra pit with both chimes and at times electric keyboards and routed through the console, a Cadac J-Type with motorized faders. Tony Meola noted that the Berlin theatre was "really quite good acoustically for a large musical. It's not too reverberant, yet reverberant enough to make the orchestra sound good and you can hear the words of the songs."
The Hunchback of Notre Dame is set in medieval Paris with the Cathedral of Notre Dame de Paris as a central location. "I try to draw from elements of the period," says Jerome Sirlin, who spent a few days in Paris taking photographs of the Seine and of Notre Dame and the views from the cathedral. "The pictures served as source material," he explains, noting that he used versions of the cathedral's gargoyles and other architectural elements to capture the essence of Notre Dame. "You can create a lot of movement with the projections. The audience believes what you tell them if you do it right."
There are projections used in every scene of the show. "Sometimes they are more for scenery or an effect, a texture or an image," continues Sirlin. "There are a variety of ways of working with the large-format projectors and defining your gobos a little differently." An incredibly beautiful use of the projections is a scene that takes place on a bridge above, and then in, the Seine."
||The neutrality of this section is disputed. (June 2013)|
The musical has, on the whole, had a very positive reception.
Variety Magazine reviewer noted that "The prevailing tone, indeed, is far and away the most somber of the three Disney film-to-stage shows yet." He wrote that "The design is likely to be the show's talking point in any language, coupling as it does the best of British and American talent with a new $ 100 million dollar-plus playhouse specifically adapted to accommodate the demands of the piece. The aquamarine stage curtain, Gothic tracery already encoded within it, rises to reveal set designer Heidi Ettinger's ever-shifting array of cubes that join with Jerome Sirlin's projections to conjure the medieval world of the Parisian belltower inhabited by Sarich's misshapen orphan Quasimodo, his unyielding master Frollo (Norbert Lamla) and a trio of very chatty gargoyles."
One minor criticism of the musical was the costume for Frollo, which was a big departure from what he wore in the film.
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