The Hunchback of Notre Dame at Paper Mill — Page 10

Diane Paulus would be great for this.

As much as I love HUNCHBACK and want to see it on Broadway, and as much as I thought this production had a lot of potential, I think this is VERY smart producing on Disney and Schumacher's part. The show still needs a lot of work, and I would really like to see it with an epic treatment to compare the two (and no, not the DER GLOCKNER one - still don't understand what people see in that production. The design full of projections and rising cubes was so terrible).

I do not think we will see this on Broadway next season. If it is indeed going to Chicago to be reworked, I don't think they could do it as quickly as this summer. I'm assuming it would be summer 2016. Not only does Disney realize that HUNCHBACK is special, they know it has more potential than many of their shows to gain serious awards attention. With HAMILTON coming in, there is no way HUNCHBACK (as good as it is) could survive the (deserving) hype Lin's show is getting right now.

I look forward to what they come up with.

Updated On: 4/4/15 at 02:37 PM

Ah, I see. I do, though, wonder what the futures of the gargoyles will be. I kind of like how this new production reinterpreted them - and I think it worked to the overall seriousness of the material. It just depends if Disney thinks it needs some humor to balance out the darkness - kind of like how the Thenardiers' worked for LES MIS. From what I've heard, it could use a few more light-hearted and/or crowd pleasing moment to have wider appeal.

TheatreKid, I think it could use that.

The new conception of the Gargoyles didn't necessarily feel wrong to me, but the actors need some kind of physical and vocal work (and personality) to make it interesting and clear--there was nothing to indicate the "congregants" were becoming Gargoyles except, again, the text literally TELLING you.

Updated On: 4/4/15 at 02:53 PM

I did notice that one example of narration-describing-what-you-are-looking-at text that Whizzer pointed out was at trimmed when I saw it.

I guess its a big train to turn around once in performances. Hopefully it's looked at very critically before the next step.

Updated On: 4/4/15 at 03:00 PM

"I went on Thursday night and really enjoyed the show. Arden and Page were fantastic and the score was very good and the choir was excellent. There were flaws but overall it was very good. Regarding next run, I heard that they are planning a run in Chicago in the summer and Broadway in the fall."

Of this year? Wouldn't the Chicago run be announced a long ago? What's your source?

This is great if it's true. I really want this to be on Broadway and like I said, this needs a heavy overhaul for this to be on Broadway. This could have been another LITTLE MERMAID/TARZAN if this version transferred. I especially want to see Arden win a Tony for this. One of the best performances I've seen in my life. If the Chicago run doesn't come true, I hope he at least gets recognition somehow.

And honestly, they should restore the German soundtrack. I listened to it, and the high notes are much more appealing than the lower notes in the US premiere. And out of all musical changes, they need to restore Someday back to its former glory. I had goosebumps for the rest of the song after the ensemble enters. Really bad mistake of cutting most of it and making it a duet between Esmerelda and Phoebus.

Well, as much as I disagree with a lot of what's been said on this thread, I certainly hope we hear some news of future productions soon.

Kudos to Tom and team for realizing that the show still needs more work before a Broadway bow. I recently saw some footage of the show (pm me if you want details.) While I think the entire score and most of the book are solid, the productions storytelling concept needs a complete overhaul. Bring back the Gargoyles!!!! Having the ensemble in their place felt very disjointed at times and completely taken out of the moment. Same goes for the narration! What was flawed about Clopin? The one element that gave me goosebumps though was Arden's entrance. And Frollo's new arc is moving. You actually are emotionally connected with him. Tom Schumacher has been very careful lately on sending projects straight to Broadway, Newsies was the exception. I think the team realizes that they could have a hit on their hands, but extra care is still needed for the piece. I just hope they don't loose Arden and Page.

The Lapine book resolved that problem nicely, and even made "A Guy Like You" work. No one is campaigning for the cubes to come back. We want a sensible, working version of the show, and that script and score is it.

Have you compared the two? I've offered elsewhere on this thread to provide the relevant material necessary.

As much as I loved the show and was able to look beyond the narration, I can admit that pulling the obvious narratives out of it would be something I would have no problem with. That was really one of the few standouts I can remember from the show.

Otherwise I loved the music, and the performances (sans one performer earlier in the La Jolla run who wasn't in the action for very long anyway) were excellent in my opinion.

Could some things like the battles have been staged more realistically? Perhaps. Could "Topsy Turvy" have been staged with a little more verve and show? Yes.

Overall though I still enjoyed it, and was much more moved by Arden's performance than a couple of posters who have expressed their opinions on his performance. I thought it was quite an emotional performance, and I think he's a very good actor.

I do hope this finds its feet and makes the move to Broadway. It has such gorgeous music, and such a meaningful story.

I will say this though: transferring a season after this current season not only gives them time to tinker with the show a bit more, but it avoids competing against "Hamilton" (which, like it or not, is the juggernaut of next season).

also, if this production proved anything, it was that an audience responds to this material. Even with a somewhat flawed direction, the score has never sounded better, and from the amount of people I've seen openly weeping during the finale, this show could find an audience.