Wow! Plamondon and Cocciante's sung-through musical adaptation of Victor Hugo's classic novel is stunning: moving, exciting, funny, tragic. The cast is superb, the staging striking, the score melodic and exhilarating. In many respects, it's one of the more faithful adaptations, although the modernisation of some aspects of the setting is not entirely successful. There may be *some spoilers ahead*, as I make comparisons with the book and other adaptations.
Pierre Gringoire's role has been expanded to function as our streetwise narrator and guide through the story: Bruno Pelletier, a wise-cracking, adorable delight, is at his most mischievous in 'Val d'Amour', surrounded by Folies Bergère-style harlots! The other main characters fulfil the roles one expects. Luck Mervil is a dynamic, if youthful Clopin (it's a bit of a jolt when he says he's brought up Esméralda as a father – they look the same age!), and comes into his own in the marvellous 'Cour des Miracles' scene, in which Pierre narrowly escapes hanging. Garou is an impressive and moving Quasimodo. Hélène Ségara is a graceful Esméralda, though perhaps *too* dignified – I was more convinced by Lola Ponce in the Verona recording. Also, script-wise, there are problems with adaptations (like this) which give her a stronger, more mature personality, because, while it's more convincing in terms of her background, the plot hinges on her gullibility and immaturity re: the vain and duplicitous Phoebus (Patrick Fiori). A more plausibly streetwise Esméralda would be more likely to see through him and either avoid or manipulate him. Daniel Lavoie is heartbreaking, and a fine vocal presence, as Claude (although, as in most dramatisations, a couple of decades older than the character). He has some of the best songs, too: 'Tu vas me détruire', 'Etre prêtre' and 'Un matin, tu dansais' – and it helps that the lyrics make powerful use of some of Claude's speeches from the novel. But then, his plight – torn between his desires and his vows, between his traditional ecclesiastical education and the new learning of the Renaissance (here expressed in a duet with Pierre, 'Florence') – is what drives the novel and gives it its tragic heart. He also depicts the Archdeacon's increasing mental breakdown, up to the final hysterical outburst that precipitates his death (dramatically staged). I'm unconvinced by the semi-modernisation making him a racist: the only gypsy with whom he really has a problem in the book is Esméralda, and that's because of his attraction to her. Julie Zenatti is effective as Fleur-de-Lys, here portrayed as an adolescent, but shrewd and scheming: she knows what Phoebus is, and seeks to secure her hold over him by telling him to "hang the gypsy".
The minimalist sets work well in terms of allowing the dance sequences to stand out, and to focus attention on the main characters. However, as mentioned already, I'm not entirely convinced by the partial modernisation. The grafting on of modern political themes – undocumented refugees, police racism and brutality – jars when we also have songs such as 'Florence', which places the action in the Renaissance and anticipates the coming Reformation. A full modernisation of setting might work (Dresden Semperoper did a 'Chicago'-style production of Schmidt's 'Notre Dame', with Esméralda-as-Roxie Hart), or a full mediaeval staging (as done in the Russian youth theatre Sed'moe Utro's production in Novokuznetsk), but this is neither one nor t'other.
Overall, though, this is a magnificent show, and (bar its omission of subplots around Esméralda's real parentage and Claude's relationship with his brother) is closer to the novel than most film versions. Also, it passes the ultimate test for any musical: you will start humming and singing some of the songs afterwards!
Pierre Gringoire's role has been expanded to function as our streetwise narrator and guide through the story: Bruno Pelletier, a wise-cracking, adorable delight, is at his most mischievous in 'Val d'Amour', surrounded by Folies Bergère-style harlots! The other main characters fulfil the roles one expects. Luck Mervil is a dynamic, if youthful Clopin (it's a bit of a jolt when he says he's brought up Esméralda as a father – they look the same age!), and comes into his own in the marvellous 'Cour des Miracles' scene, in which Pierre narrowly escapes hanging. Garou is an impressive and moving Quasimodo. Hélène Ségara is a graceful Esméralda, though perhaps *too* dignified – I was more convinced by Lola Ponce in the Verona recording. Also, script-wise, there are problems with adaptations (like this) which give her a stronger, more mature personality, because, while it's more convincing in terms of her background, the plot hinges on her gullibility and immaturity re: the vain and duplicitous Phoebus (Patrick Fiori). A more plausibly streetwise Esméralda would be more likely to see through him and either avoid or manipulate him. Daniel Lavoie is heartbreaking, and a fine vocal presence, as Claude (although, as in most dramatisations, a couple of decades older than the character). He has some of the best songs, too: 'Tu vas me détruire', 'Etre prêtre' and 'Un matin, tu dansais' – and it helps that the lyrics make powerful use of some of Claude's speeches from the novel. But then, his plight – torn between his desires and his vows, between his traditional ecclesiastical education and the new learning of the Renaissance (here expressed in a duet with Pierre, 'Florence') – is what drives the novel and gives it its tragic heart. He also depicts the Archdeacon's increasing mental breakdown, up to the final hysterical outburst that precipitates his death (dramatically staged). I'm unconvinced by the semi-modernisation making him a racist: the only gypsy with whom he really has a problem in the book is Esméralda, and that's because of his attraction to her. Julie Zenatti is effective as Fleur-de-Lys, here portrayed as an adolescent, but shrewd and scheming: she knows what Phoebus is, and seeks to secure her hold over him by telling him to "hang the gypsy".
The minimalist sets work well in terms of allowing the dance sequences to stand out, and to focus attention on the main characters. However, as mentioned already, I'm not entirely convinced by the partial modernisation. The grafting on of modern political themes – undocumented refugees, police racism and brutality – jars when we also have songs such as 'Florence', which places the action in the Renaissance and anticipates the coming Reformation. A full modernisation of setting might work (Dresden Semperoper did a 'Chicago'-style production of Schmidt's 'Notre Dame', with Esméralda-as-Roxie Hart), or a full mediaeval staging (as done in the Russian youth theatre Sed'moe Utro's production in Novokuznetsk), but this is neither one nor t'other.
Overall, though, this is a magnificent show, and (bar its omission of subplots around Esméralda's real parentage and Claude's relationship with his brother) is closer to the novel than most film versions. Also, it passes the ultimate test for any musical: you will start humming and singing some of the songs afterwards!