Past Reviews

Regional Reviews: New Jersey

Impressive Disney Stage Hunchback
Darker, Deeper and More Authentic

Paper Mill Playhouse

Also see Bob's reviews of Ken Ludwig's Baskerville - A Sherlock Holmes Mystery and Buyer & Cellar


Michael Arden and Ciara Renée
By something akin to alchemy, book author Peter Parnell and director Scott Schwartz have transformed the earnest but ultimately bland and timid 1996 Disney animated movie The Hunchback of Notre Dame into a dark and stirring stage musical. The distance between the animated movie and the stage production is accurately and adeptly described by the program's title page credit: "based on the novel by Victor Hugo with songs from the Disney film."

While there are substantial deviations to be found in the reworking of plot details and elimination of characters, it is simply stunning to observe how much the essentials of the novel Parnell has restored and seamlessly woven into the musical's fabric. Most crucially, Archdeacon Frollo's licentious desire for Esmeralda, the novel's moving and meaningful resolution (including Hugo's poetic epilogue), and the depiction of the struggle between stern religious morality and human sexuality, all expunged from the animated film, have been restored.

Happily gone are the cartoony, comic gargoyles (Victor, Hugo and Laverne). They have been replaced by the statutes of Saints conjured to life within Quasimodo's brain to relieve his loneliness and funnel the thoughts with which he is struggling. Schwartz beautifully stages the de-animation of the Saints when Quasimodo embraces the reality that the plaster figures cannot think or speak.

Although the gypsy Esmeralda's sensual appeal to many men and Frollo's licentious evil are clearly drawn, there is no visceral sensual passion conveyed to the viewer. For Scott Schwartz has staged the entire production with a sense of formality, grandeur and classicism that, in spite of the darkness and sensuality of its story, make it appropriate for most family audiences. However, it is likely that some younger children will find it tough sledding.

There are any number of stirring, declaratory anthem-like ballads in the style of that little Victor Hugo musical adaptation Les Misérables that are rousingly melodic and thrillingly orchestrated and sung. Understandably, there will be some who find them both insistent and incessant. I believe that most audiences will be happily swept up by the score, right from the sprightly and scene setting opening number, "The Bells of Notre Dame." Among the highlights of the score are "God Help the Outcasts," Esmeralda's plaintive prayer for the downtrodden gypsies, and "Top of the World," a duet for Esmeralda and Quasimodo.

The moment late in the show when the ghosts of those who have suffered and die return to join the play's other protagonists to express their hope for a just and kinder future world ("Someday") is reminiscent of the moving reunion after death at the conclusion of Les Misérables.

It is worth taking note of some of the lyrics: "Out There," Quasimodo's expression of his desire to know the joy of leaving his Cathedral prison and mingling with others on the Cathedral square (...Just one day and then/ I swear/ I'll be content/ With my share/ Won't resent/ / Won't despair/ Old and bent/ I won't care/ I'll have spent/ One day/ Out there!); and the lovely, "Heaven's Light," in which Quasimodo expresses the hope that he might know romantic love despite his deformity after Esmeralda shows him tenderness (...I dare to dream that she/ Might even care for me/ And as I ring the bells tonight/ My cold dark tower seems so bright/ I swear it must be heaven's light). The soapy, inspirational tone of these lyrics may be a bit much, but the skillful construction of Schwartz's lyrics and the melodic sweep of Menken's music delight with musical theatre skill and superior craftsmanship.

The powerful singing and performance of Patrick Page in the role of Frollo add immeasurably to the pleasures of< i>Hunchback. His performance of "Hellfire" in which Frollo viciously ascribes blame to Esmeralda for his carnal lust which has swept aside his moral rectitude is strong stuff, both musically and dramatically. Michael Arden brings passion and pain, as well as smooth vocal expertise to his Quasimodo and initially twists his handsome face into a frightful ugliness. However, it is the method of this production to only suggest Quasimodo's horrible appearance (black lines of makeup about his face) and rely on the audience to discern Quasimodo's hideous appearance from the artistry of the writing and performance, despite Arden's barely disguised good looks.

Ciara Renée is a lovely and sympathetic Esmeralda. Her singing has a clear, unforced tonal loveliness. The smoldering passion and sexuality which sets men's loins afire is barely evident in her performance. Given the style of the production and the broad, popular appeal to which Hunchback aspires, I'm comfortable with her toned down Esmeralda. Erik Liberman as Clopin, the gypsy's thieving leader and leading player, is delightfully lithe and energetic. Andrew Samonsky as Phoebus, the smitten Captain of Frollo's Guard who resigns his position rather than arrest Esmeralda, acts and sings with stylish aplomb. The twelve actor ensemble (identified as "the congregation") is notable in that each one, whether or not they have featured roles, has been provided by director Scott Schwartz with individual vocal and dramatic opportunities which each of them embraces with skill and enthusiasm.

There is also the substantial deployment of 32 members of New Jersey's Continuo Arts Symphonic Chorus which performs both liturgical music and parts of the Menken-Schwartz score. For the entr'acte, accompanied by the orchestra, they gorgeously sing a series of Latin hymns.

Hunchback is not a dance show. The adequate choreography that is employed is in the style of Mediterranean gypsy folk dancing. Alexander Dodge's solidly constructed, massive wooden set features a bell tower with large bells which descends to cover most of the stage. It well serves the classical feel of the book and direction. Alejo Vietti has provided a rich array of colorful, appropriate costumes, including some spiffy clerical robes.

The first musical stage version of the Disney movie was a 1999 Berlin production directed by James Lapine. The current production, a joint venture of the Paper Mill Playhouse and the La Jolla Playhouse, employs songs written for the Berlin version as well as music newly written for this production (all by the film's composers). Director Scott Schwartz has stated that it is otherwise completely new. Furthermore, changes have been made since its La Jolla engagement last Fall.

The Hunchback of Notre Dame now on stage at Paper Mill is accomplished, dark and serious, large scale popular entertainment worthy of our time and attention.

The Hunchback of Notre Dame continues performances (Evenings: Wednesday - Sunday 7 pm/ Matinees: Thursday, Saturday, Sunday 1:30 pm) through April 5, 2015 at the Paper Mill Playhouse, 22 Brookside Drive, Millburn, NJ 07041. Box Office: 973-376-4343; online: www.papermill.org.

The Hunchback of Notre Dame Music by Alan Menken, Lyrics by Stephen Schwartz, Book by Peter Parnell, based on the novel by Victor Hugo with songs from the Disney movie. Directed by Scott Schwartz

Cast
Dom Claude Frollo…………………….Patrick Page
Jehan Frollo……………………………Jeremy Stolle
Florika……………………………..Samantha Massell
Father Dupin/ Tribunal…………….William Michals
Quasimodo…………………………….Michael Arden
Chopin Trouillefou……………………Erik Liberman
Capt. Phoebus de Martin………Andrew Samonsky
Lt. Frederick Charlus………………Ian Patrick Gibb
Esmeralda…………………………………Ciara Renée
King Louis XI……………………………..Richard Ruiz
Madam………………………………..Beth Kirkpatrick
Saint Aphrodisius………………………….Neal Mayer
also:…………………….Nora Menken/ Anise Ritchie/
………….Vincent Rodriguez III/ Joseph J. Simeone
…………………………………………..Dashaun Young
and New Jersey Continuo Arts Symphonic Chorus


Photo: Jerry Dalia


- Bob Rendell