My Own Personal Nerdy Disney and Animation Scrutinizing Analyses: The Stage Adaptations of "The Hunchback of Notre Dame": Two Different Versions Which Were Made in Two Different Continents, But Became Two Different Plays

Hi folks! Welcome to my My Own Personal Nerdy Disney and Animation Scrutinizing Analysis blog. A blog where I'm analyzing several Disney films, Disney or Animation in general! These entries are just meant to be my analyses. Not reviews or statements. Just fun analyses! Though I'll make some personal remarks now and then, the content of these entries are meant to be depicted objectively. They're made for entertainment purpose only and the pictures/clips are copyright Disney or other companies.

Make sure to leave a comment if you like this site! And if there's something you think could be improved, please let me know. But in a constructive way, please. And just a note; I'm not a Native English writer, so my incorrect grammar may be notable.

And finally; If you haven't seen the films, beware of spoilers! And the funny lines aren't meant to be nothing than funny. So I hope you won't find them offensive. If so, I apologize

This was my first entry which centered about a stage adaptation for a Disney show. But hey, there's a first for every thing, right?

Yes, it's a poster, not the actual thing :)

I'm singing on the
spire without rain :)

In many ways, this entry was somewhat of a full circle for me. The very first entry that I ever published was one of The Hunchback of Notre Dame and now I'm returning to that property. Of course it's a film that it's been worth to discuss and ponder upon. As I've said on that entry, it was one of my true childhood favorites and still one that I highly regard as an adult. Yet despite my personal bias, it's still easy to spot Hunchback's (unfortunately very hampering) faults. It was at the time Disney's most boldest and daring production, yet still somewhat a compromise.

It included some of the most controversial and radical content ever put on a Disney animated feature. Yet it was still very steeped in Disney's recycling stock components of the 1990's (which that entry was really about). Of course it's needless to make clear that Hunchback is a Disneyfied version of the story. Yet Disney (or Michael Eisner) felt a strong desire to incorporate Hugo's radical content and to widen their horizons by doing so. In a interview from the fall of 2014, Alan Menken made a valid statement by stating that it was too dark for Disney, yet too light for Hugo's Hunchback. Which was pretty how the movie turned out to be.

Hunchback`s Final Legacy, Fanbase & How It Broke The Mold of Disney`s Features

At least it's
not Macy Day :)

If we're going to scrutinize about Hunchback's overall legacy, it's fair to state that it's been placed in the famous "underrated"-shelf. While it haven't been completely dismissed, it's really been one of Disney's lesser promoted films of the 90's (since Disney relied on their enormous marketing campaign of their features in the 90's, the kid friendly approach were something of a headscratcher and a contradiction. For Hunchback's overall dark nature, which made people outraged by the marketing). And while perhaps Disney themselves has never confirmed this, it would be fair to guess that these reasons are why Hunchback haven't been as promoted.

In my previous entries I've said how Disney in truly promotes their most celebrated works more (for obvious reasons, duuh). In retrospect, Hunchback has a small, yet very devoted and passionate fanbase today. Alongside with Pocahontas released the year prior, Hunchback was criticized for being a Disneyfication of a source material that wasn't really suitable to Disney. And for disrespecting it`s source material and being too serious in tone (and for bringing down the Disney Renaissance). Regardless of my personal bias for Pocahontas and Hunchback, at least they shall have genuine credit for breaking the mold and taking actual risks. Despite being heavily steeped in Disney's stock components, they`ve managed to include risks of their own (despite how it payed more off in Pocahontas' case).

Hunchback`s Destination For a Stageplay, It`s Placement on the Renaissance, How The Songwriting Team`s Wishes Came True and The Overall Reception of Hunchback`s Music

We're not a couple,
we're just pretending :)

So for those reasons it would be easy to assume that Disney has swept Hunchback completely under the rug, right? Fortunately they haven't! Disney actually dared to give Hunchback it's own stage play adaptation! It's certainly a bold move. Yet when it comes down to it, perhaps it not that strange that it received one. Following the successes of both Beauty and the Beast and The Lion King's stage adaptations, Hunchback was destined to follow in those footsteps. In my blog entry for Mulan I wrote how Disney developed a curious pattern during the 90's by having a stirring, sweeping epic every second year. And followed by a movie that was perceived as being inferior. Well, at least at the beginning of the 90's. Since it's not as Disney were completely stuck to that pattern, anyways. Both Aladdin and Hercules followed two sumptuous pictures. While Mulan and Tarzan were epics in their own rights, but being lighthearted as well. Yet Pocahontas' placement in somewhat unconventional. Since it was an epic that followed an previous epic, The Lion King. And Hunchback was definitively placed in the epic-category.

Funny enough how both Alan Menken and Stephen Schwartz mentions in the commentaries for the deleted songs in the Deluxe Laserdisc edition of Hunchback that they hoped that the movie could become an stage adaptation. To bring back the deleted songs! Which lo, has happened and having relived one of Hunchback's true anthems, Someday. With a new intro, lyrics and having become a duet between Esmeralda and Phoebus (While in The King's Academy version, it's a solo performance and being Ciara Renee's favorite song). Well, at least the songwriters dreams came true, since the deleted In the Place of Miracles has also been revived!

While the music has received more praise with the general audiences than the critics themselves, there are many who considers Hunchback to be Menken's very best score (which Schwartz had agreed upon and said that Hunchback is been his favorite project. And Schwartz marked his copy of the Hugo novel with dog eared pages). Probably for it's epic nature and how it breaks Menken's mold. But also because of it's overall quality (and Hunchback was the most requested soundtrack among the unreleased candidates to the Legacy Collection)

The Genesis of Hunchback`s Stage Show in Germany

Well, at least the
Hunchback's here :)

What's truly remarkable, though, is that Hunchback was given a stage adaptation outside the US! In Germany, of all places! Released June 5th 1999 with German partner, Stella AG (who put Cats on the German stage in the mid-80's, as well as another Victor Hugo property, Les Miserables). The German choice is remarkable, indeed (mostly because of the language barrier. Which was a challenge for the crew, yet the rehearsal was in English,). But it was a conscious choice! Directed by James Lapine, Disney's plate in the US was full at the time. And the German placement was due to historical events of Germany`s history! In fact, Hunchback was the first non-Broadway American concept that was adapted in Germany (and was offered as a replacement for The Lion King)!

Another reason for the German setting was how European audiences embraced Disney's Hunchback more than the domestic audiences. And having resonated more with them (despite how the move created fuzz in Europe as well). Perhaps it could be also due to how Europe has a different policy to controversy in art and movies than the US. Menken and Schwartz came up with nine more songs for the stage version. And the show ran in Germany for six years and being quite successful! 1.4. million people saw the about 1204 performances. With the production cost of 45 million marks and was one of Berlin's longest running musicals!

Disney`s Previous Stage Adaptations, How the Berlin Stageplay Was a Straight-Forward Version of The Animated Hunchback`s and How It Filled Some Gaps

Yes, the lion was
absent here :)

It' needless to sum up that the Broadway idea began with Beauty and the Beast. Which was on it's release declared for being the best Broadway musical to not taking place at Broadway. So that`s why it wasn't strange that Disney wanted to take the next level literally (while Michael Eisner and Broadway themselves had their reservations at first and Mary Poppins was initially the first suggested to go into production). Beauty became a huge success on Broadway (despite receiving mixed reviews). And The Lion King was afterwards destined to go the same path (despite how the directors joked about it's impossibility). In fact, Hunchback was the third movie in line to be adapted as a stage musical. And as it's Broadway predecessors, it was released three years after it's animated predecessor.

You're half fish, while I'm..
half. something else :)

Regardless of what could be said about Disney's Broadway adaptations, at least they serve to be elaborations of their movie versions. Yet of course this doesn't mean that every Disney Broadway adaptation became a hit. Which both The Little Mermaid and Tarzan would prove. But at least what's differentiates Hunchback is that it's a rare show to receive two adaptations; A German version and an American one. While the German version had the dark elements, it pretty much was as a elaboration of the animated feature. And actually had the Gargoyles (while funny enough, the term Fleur-de-Lys is mentioned in the song Esmeralda, despite how Fleur-de-Lys is not even a part of Disney's version).

Yes, I'¨m going to sing, so get used to it :)

At least some gaps from the movie were filled in the Berlin version; A segment where the Archdeacon visits Quasimodo in the Bell Tower was there, indicating that there has been some interaction between them (which there were none in the movie). Alongside with a scene where Quasi and Phoebus discuss their mutual attraction for Esmeralda (which was missed in the animated feature). And the reprise of Top of the World had something that could've definitively been in the movie; Esmeralda recognizing Quasi's inner beauty!

I'm not a Hunchback, I'm a stand in :)

Another thing is that the stage version filled some backstory. It was learned that Esmeralda was a newcomer to Paris (despite her backstory in some novel adaptations has been muddled). And having caused her romani squad trouble by getting them out of Frankfurt by hitting a soldier. While our friend Phoebus (who has some traits from the novel) has been given a last name, de Martin, and is from Marseille. And his musical theme from the movie has been made into a song, Rest and Recreation. A part from Out There has been snuck in on Topsy Turvy. While the score for the Sanctuary score has been transferred into a segment in the song Esmeralda (while a new song actually called Sanctuary was made).

The LaJolla Version, Other American Stage Versions of Hunchback and the Soundtrack

What's even more remarkable that it took so long before the Hunchback stageplay actually reached America! While Menken and Schwartz implied that it was on it's way a couple of times (2002, 2008 and 2010), it was finally announced in 2013! However, the noteworthy thing is that before being completely revised, the play was actually adapted by the The King's Academy Fine Arts Department in April 2013.
That version was quite in tune not only to the German version, but also to the movie as well! The Gargoyles were a part of this and both versions actually had the much "beloved" A Guy Like You (yes, note the sarcasm, folks). While funny enough, Phoebus was given an entirely different name, for some reason. Frollo, however, while being as despicable in the movie, at last acted out of love for Quasi at the very end.

However, the following year it was decided that Hunchback would be given a makeover. With a new, revised book by Peter Parnell (who's an friend of Quasi's voice actor, Tom Hulce). And it premiered in LaJolla Playhouse in San Diego, October 28th 2014. And ran to December 7th 2014! With a 32-chours group on stage! And directed by Stephen's son, Scott, who was the one who approached Parnell. And had his own clear vision of what the show was going to be! Both Scott and scenic designer Alexander Dodge visited Paris in 2013 for research (in fact, a beam that form the skeleton of the cathedral itself, inspired the setting that they simplified).

However, the show ran on Paper Mill Playhouse in Millburn, New Jersey, the following year. And in 2016, a version ran in Music Circus in Sacramento. Where Quasimodo was played by a deaf actor, John McGinty, using sign language as a part of the show. And helped the translation of the songs into sign language, while his singing voice was done by Dino Nicandros. Other theaters also adapted the play. Some of them took place in 2017, as Music Theatre Wichita (which they've received $ 10,000 dollars to develop the digital scenery), The University of The Arts, The Ogunquit Playhouse, Idaho Shakespeare Theater, The Henegar Center, La Mirada Theater, Utah Tuacahn Amphitheater (which had an outdoor screening) and Slow Burn Theatre. Still, Hunchback has played afterwards in some scenes.

It was played in Wavestage

I'm a butterfly :)
Look at my wings :)

Theatre Company and July 6 to 8, 2018 at the Isabel Bader Theatre in Toronto (and in Kelowna and Saskatoon in Canada). Riverside Center Theater had their own shows from Music Theatre International. The Regional Theatrical Debut had their own presentations at the Camelot Theatre. Happy Ending Lyric Players (H.E.L.P.) arranged their version on First Baptist Church of Greater Cleveland. Victoria Theatre at Bay Area also had their shows in 2018. The Fulton Theatre had their showings, as well as Cardinal Music Productions.

And The Argyle Theatre in Suffolk County and Brampton Music Theatre in late 2018. And at the 5th Avenue Theatre in Seattle. As has Davis Musical Theatre Company and Moline's Spotlight Theatre. And by Fuse Productions in Schwab Auditorium Penn State University and by Hale Centre Theatre’s. And Barn JR. Production had their own showings and San Francisco's Victoria Theatre. As has Capital City Theatre in Middleton. Even The King's Academy's has updated Hunchback again with the revised book.

As well as Community Theater Production and Wellesley High School. And at White Plains Performing Center and at South Bend Civic Theatre. And at StageSceneLA and ARIEL Theatrical. And at Alexander Showcase Theatre. And at Connecticut Theatre Company and at JCompany Youth Theatre. In late September 2015, the songs of the LaJolla musical were officially recorded and released as soundtrack the following January. Released by Ghostlight Records, the soundtrack was quite successful, debuting at number one (and throwing the soundtrack for Hamilton off the first spot). The revised stage version received positive reviews and was nominated for six Craig Noel Awards. Unfortunately the show never made it to Broadway, while there were a petition made online on Vista that gained 759 signatures.

How The LaJolla Version Includes More Elements From Hugo`s Novel and The Differences Between The Berlin and LaJolla`s Version

It`s completely redundant to claim how Hugo purists hates Disney's Hunchback for it's Disneyfication! However, what's relevant to ask is if the writers made the right decision to revise the story and incorporating Hugo's darker elements to the story. Of course it`s a matter of subjective taste! Yet it's remarkable to think that the American version was even closer to Hugo in tone and scope, regardless of the aforementioned claim of European audience embracing the movie`s tone. In the LaJolla version, Frollo (played by Patrick Page, who played Scar in The Lion King and The Green Goblin in Spider-Man Turn off the Dark, but also played Lumiere in Beauty in 1995, where he met his wife) is an Archdeacon. Quasimodo (played by Michael Arden, who's favorite song is Out There) is his nephew and the son of Claude's brother, Jehan. In this version, Quasi's deafness is incorporated and his characterization seems to stem from the stereotype of the character.

Ignore the
wrong typing ;)

Rather of being the exact same characterization from the animated version. Phoebus is also closer to the book in this version as well (and is also called de Martin here). While Frollo is given a gentler side, despite still struggling with his obsession (Page said that he didn't consider his villainous characters as bad and that he enjoyed playing Frollo). Other elements from the book, as the stabbing of Phoebus and Frollo and Esmeralda's meeting in the dungeon, are here (while the latter scene was still in the Berlin version). But yeah, folks, both versions have Esmeralda dying at the end (which the German translator Michael Kunze suggested, since Europeans would perceive the death as romantic).

It would be scrutinizing and nitpicking to sum up all the similarities and differences between the Berlin and LaJolla versions. But both shares a couple of similarities (in both, The Bells of Notre Dame appear as a storytelling device which appears more than once). Yet what's remarkable is how the LaJolla version have the songs from the Berlin version re-recorded and readjusted. As Top of the World (which in my opinion was superior in it's original version) and having new songs. And also having a revised version of The Court of Miracles. The Gargoyles were cut from this show (to the rejoice of the fans, despite how Alan Menken loved them). Yet the LaJolla version includes a headless statue of Saint Aphrodisius singing (yes, it's true folks). Made of Stone was Schwartz favorite song, besides Hellfire.

My Own Personal Opinion About the Changes To The LaJolla Version

This is for you,
Leonard Cohen :)

It's clearly that the creators wanted to reach a more adult audience with these adaptations than with the animated feature (in fact, one excuse for the adult tone was to draw the comparison to Les Miserables). And there's nothing particularly wrong with aiming for an older audience. Since that's what Hugo's work was made for (and just so you know, apparently Disney themselves encouraged the changes and recommended the show to not be shown for children under twelve). Parnell looked for inspiration from other versions of Hunchback.

Look at this, Sister Sledge :)

However, if I'm going to state my personal opinions about these changes, I find the changes to the American version contrived and shoehorned in (despite how Stephen Schwartz said how the LaJolla version is the best version of the story). The problem is how these new changes comes at the expense at the components from the animated film. Which were really powerful and compelling on their own terms. The Bells of Notre Dame already had a strong, dramatic device to begin with. With the persecution of the romani and the murdering of Quasimodo's romani mother (in other words, just fueling something that was already a Disney trope; the death of a mother).

Here, the opening is replaced with the interaction of the Frollo brothers, which quite bluntly pales in comparison to Disney's opening. Frollo's change from priest to judge was at least justified in the animated version. In order fro not being too controversial (while he was a former priest in the Berlin version). However, while it may not be a devastating choice to have him a priest in LaJolla`s version, perhaps being a judge shouldn`t been changed. Since his character is about hypocritical justice anyways.

Some Scrutiny About the Changes

Out where?

At least for all the changes made, it's fair to say that the reduction of the Gargoyles was the most inspired choice. For how beloved their were from the fans (yes folks, note the sarcasm, despite how some people have ranted about the headless statue being just as jarring). Perhaps it's a proof of how Disney has listened to their audience or realized how the comedy was hampering the animated version.

Regardless of my subjective rant, the true mission here is to analyze which changes were actually suited to make the story compelling. As much as it hurts me to say this, it's fair to state that Disney's Hunchback is far from Disney's strongest screenplay (while it's far from the very weakest, it's still a little skimpy). So the Berlin version managed to fill some certain holes. However, it's fair to claim that Hugo purists will loathe the LaJolla version, regardless of the changes that has been made. Of course I have t been the only one who've ranted about that Disney's changes should've been enhanced in the LaJolla version rather than Hugo's elements. One of Hunchback's most devoted and passionate fans/defenders, ProfessorRatigan, said his/hers wishes of that Disney should rather support and stick up for their animated feature rather than shoehorning Hugo's elements in (despite that he's cited that he's content with the new stage version)

Other Stage Versions of Hunchback and How The Revised Version Came To Germany Again

Well, regardless of how Hunchback was criticized for it's
Disneyfication, we have to not forget that Disney haven't been the only ones who's taken liberties with Hugo's novel (fortunately enough, since otherwise Disney would've been seen as the only black sheep, haha). And this doesn't necessarily only means the movie versions! Victor Hugo adapted himself a stage play of the story named La Esmeralda where several liberties were taken. Yet the funny thing is that this new revised version of the American version came to Germany again! So it's a truly a full circle, haha! But Germany haven't been only one who had the pleasure, since it's been set in Japan, Sweden and in Denmark as well (to great reviews)!

The Purpose of This Entry

I know this may seem like a direct poll and a comparison of which version is the superior. And while it may be contradictory to say this, it's certainly wasn`t my intention. Both versions have their pro`s and cons (and sure, I overall liked the revised version as well).
Yet the real mission is to choose which one that compliments the story most. Perhaps it seems like I'm rooting for the Berlin version. But mainly because it doesn't add Hugo's elements at the expense of the animated feature. But I apologize if this seems as if I was completely attacking the changes, since that was not my intention.

Epilogue

However, regardless of the little attention Disney has given Hunchback and how it's (somewhat) stuck with a dud-reputation, at least we could be glad that the stage is one of the few places that it's been allowed to live and breathe. The animated feature, who's now reached it's Silver Anniversary and the same anniversary will reach the Berlin stage play soon, at least haven't been completely dismissed. And that is at least a good thing.

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My Own Personal Nerdy Disney and Animation Scrutinizing Analyses

mandag 27. november 2017

The Stage Adaptations of "The Hunchback of Notre Dame": Two Different Versions Which Were Made in Two Different Continents, But Became Two Different Plays

Make sure to leave a comment if you like this site! And if there's something you think could be improved, please let me know. But in a constructive way, please. And just a note; I'm not a Native English writer, so my incorrect grammar may be notable.

And finally; If you haven't seen the films, beware of spoilers! And the funny lines aren't meant to be nothing than funny. So I hope you won't find them offensive. If so, I apologize

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