Der Glöckner von Notre Dame

Der Glöckner von Notre Dame

So last week I blogged about how much I really love Disney’s The Hunchback of Notre Dame (before delving into a too long; didn’t read post about gothic fiction) and mentioned somewhat facetiously that I would love to see the musical Der Glöckner von Notre Dames brought to Broadway.

After having done some research into it, I would now like to change the sentiment from “facetious” to “absofuckinglutely in earnest”. A few weeks ago, while watching Newsies for the umpteenth time with some friends, we mentioned how much we wanted to see Newsies on Broadway. I would like to see this on Broadway even more than that, that’s how much I want it.

I listened to the original Berlin cast recording so many times this past weekend that I now know the words for “sanctuary” and “monster” off the top of my head (zuflucht and scheusal respectively). Thoughts beneath the cut.

Quasimodo tortured at the Feast of Fools

The stage play is much darker than the Disney film, with some characterizations and events from Hugo’s original text still intact. SPOILER: Esmeralda dies at the end. Quasimodo, unlike the movie, is depicted as somewhat retarded, unable to speak clearly and coherently except in song, in which he voices his innermost thoughts and desires. The gargoyles are firmly established as figments of Quasimodo’s imagination, representing his id, ego, and superego (and their “comic relief” is greatly toned down, thank god). Phoebus has some of his womanizing tendencies back while Frollo is made more tortured and three-dimensional.

The music is by the incomparable Alan Menken (Beauty and the Beast), lyrics by Stephen Schwartz (Godspell), and is directed by James Lapine (Into the Woods).

Several numbers were added to the stage adaptation, while one song (“The Court of Miracles”) is replaced by a dance number (“Tanz der Zigeuner”).

Act I: Paris 1482

Frollo adopts Quasimodo.

1. Die Glocken Notre Dame – “The Bells of Notre Dame”

Equivalent to “The Bells of Notre Dame” number from the movie and as far as I can tell, it’s not much different from the original except Clopin narrates as a crippled old beggar (instead of using puppets) and Frollo claims he will “ennoble” Quasimodo and raise him as a son (as opposed for pure “use” as he was portrayed in the film).

2. Zuflucht – “Sanctuary”

The beginning of the “Out There” number from the movie is expanded it give Frollo a bit of backstory (he was once a priest–I suppose this is a throwback to his position in the novel as Archdeacon rather than Minister) and rather clearly establishes the gargoyles (here named Charles, Antoine, and Loni) as imaginary friends of Quasimodo’s.

3. Draußen – “Out There”

As far as I can tell, there is absolutely no difference between this version and the movie’s. (Although to note, Quasimodo is played by an American–Drew Sarich–and I couldn’t tell! Not that I’d have known anyhow, considering how nonexistent my German is.)

A hunchback and his master.

4. Ein bißchen Freude – “Rest and Recreation” (although I think it’s literally translated as “A Little Joy”*)

Phoebus gets his own little leitmotif in the film, but it’s expanded into an actual song for the play. This is actually my favourite new song, possibly because I love how it introduces a swaggering, womanizing braggart. I have no quibbles with Kevin Kline’s portrayal in the movie (because he’s Kevin Kline and ridiculously charming), but I sort of love what an asshole Phoebus is in the novel.

5. Tanz auf dem Seil – “Balancing Act” (I think literally it’s “Dance on the Wire”*, which I sort of like better)

A new number which introduces the gypsies to us, as well as the “Esmeralda” theme which will form the last number in this act. I have no real opinion about this song one way or another–it functions as good “ensemble” piece that moves the story along, although I will say that I love the word drecksgesindel, which is translated as “wretched refugee” but I think is “worthless trash + farmhand” = “worthless peasant”?*

*Note: I don’t speak a lick of German, although I wish I did. All of my linguistic conjectures are just that–conjectures. I like playing with words and I’m fairly good at picking up new languages (English isn’t my first language, after all).

6. Drunter Drüber – “Topsy Turvy”

This isn’t too different from the movie version, although Quasimodo has a few lines of song and Esmeralda’s dance theme is different: slower, more mysterious, and a bit more sexy.

Esmeralda in the Cathedral

7. Hilf den Verstoß’nen – “God Help the Outcasts”

Again, not too different from the film version, although Quasimodo gets a few lines of song. Interestingly, God isn’t really mentioned until the very end of the song.

8. Hoch über der Welt – “Top of the World”

My least favourite addition in the stage play. It seems oddly too “pop” and “happy”, although it does establish (even more firmly) that the gargoyles are different aspects of Quasimodo’s personality. It also makes it clear that Quasimodo is speech impaired in some way. Sarich plays him with a thick-tongue. (Quasimodo was deaf and mostly dumb in the novel, but the play seems to make him mostly dumb but not deaf.)

9. Das Licht des Himmels – “Heaven’s Light”

My absolute favourite song in both the play and the movie. I’m not sure what about this song gets to me, but it’s so poignant and lovely it sends shivers up my spine. It’s short, but the lyrics kill me.

So many times out here
I’ve watched a happy pair
Of lovers walking in the night
They had a kind of glow around them
It almost looked like heaven’s light

I knew I’d never know
That warm and loving glow
Though I might wish with all my might
No face as hideous as my face
Was ever meant for heaven’s light

But suddenly an angel has smiled at me
And kissed my cheek without a trace of fright
I dare to dream that she
Might even care for me
And as I ring these bells tonight
My cold dark tower seems so bright
I swear it must be heaven’s light

10. Das Feuer der Hölle – “Hellfire”

Ursula of The Little Mermaid may have the best villain song EVER, but this is pretty awesome too. The stage play has one important key change in the middle that the film version lacks, not to mention the interrupting dialogue is cut. Also, the lustful suffering of Frollo is made much more obvious than it was in the movie (and it wasn’t subtle in the movie either!).

11. Esmeralda

The closing number of Act I and is a mob song in the best tradition of mob songs. It also has a really stunning finale with Phoebus plunging from the bridge. The show was staged with several moving platforms that could be adjusted to different heights, as well as projections, which worked together to give you the sense that Phoebus was really falling.

Phoebus plunging from the bridge.

Act II: Paris, Six Months Later

Paris burns.

1. Trommeln in der Stadt – “City Under Siege”

The track is instrumental in the movie, titled “Paris Burning”.

2. Ein Mann wie du – “A Guy Like You”

Ugh, why couldn’t they have cut this number altogether? I hated it in the film and I don’t like it much better here. It’s less cheesy here (thank goodness), but still.

3. Weil du Liebst – “Out of Love”

My favourite song additions seem to involve Phoebus somehow. Here he’s trying to convince Quasimodo to help him warn Esmeralda and the gypsies, while still maintaining that womanizing braggart edge. Also, this has a gorgeous melody, but I think the dialogue exchange is what clinches it.

PHOEBUS
You like Esmeralda, don’t you? After all, she’s very beautiful.

QUASIMODO
Kind.

PHOEBUS
She’s kind. And brave.

QUASIMODO
Smart.

PHOEBUS
And smart.

QUASIMODO
Loyal.

PHOEBUS
And beautiful.

QUASIMODO
…beautiful.

PHOEBUS
I like her too. And I believe she likes me.

QUASIMODO
You’re handsome.

PHOEBUS
And kind, and brave?

QUASIMODO
Handsome.

4. Tanz der Zieguener – “Dance of the Gypsies

A dance number where “The Court of Miracles” used to be.

5. Weil du Liebst (Reprise) – “Out of Love”

In which Esmeralda and Phoebus declare their love, Quasimodo reprises “Das Licht des Himmels”, and JJ’s heart breaks for a retarded hunchback.

Esmeralda at stake.

6. Wie aus Stein – “Made of Stone”

Another one of my favourite songs, in which Quasimodo rails at his gargoyle “friends”, telling them they led him astray. Maintains the best line from the film. “After all, we’re only made of stone. We just thought you were made of something stronger.”

7. Einmal – “Someday”

A really godawful pop version was sung over the end credits in the movie. This song was actually written for the musical, in place of “God Help the Outcasts”, but was scrapped because it didn’t fit, sort of like what happened to “Human Again” in Beauty and the Beast. I like it here, where Esmeralda and Phoebus sing about a world being better “someday” while waiting to die.

8. Finale Ultimo – “Grand Finale”

Again, not too different from the movie, except Esmeralda dies and Quasimodo murders his master (as he does in the book) by throwing him off the cathedral.

I can’t seem to write short blog posts these days, can I? But I had to write my piece about this musical. Seriously, I haven’t felt this emotionally involved in a play since I was obsessed with The Phantom of the Opera. (Sometimes, when I hear that awfulsome–awful/awesome–pipe organ 80s beginning to the title song, my 12-year-old heart goes a-flutter.)

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