For the first time in its twenty-four year history since its premiere in Paris, France in 1998, Notre Dame de Paris makes its New York City debut. The acclaimed musical spectacular has toured internationally, featuring successful productions in Canada, Italy, Lebanon, Singapore, Japan, Turkey and China. Performed in 23 countries and translated into nine languages, accumulating an enthusiastic 15 million spectators worldwide, the production at the David H. Koch Theater at Lincoln Center premiered on the 13th of July and runs through, Sunday, 24 July.
Notre Dame de Paris extravagantly directed by Gilles Maheu is a transcendent, opera-styled musical rendering of Victor Hugo’s novel The Hunchback of Notre Dame. Based on Hugo’s monumental work of passion, love, lust, jealousy, cultural transformation, racism, classism and misogyny, the Notre Dame cathedral is the centerpiece around which most of the whirling action of this spectacle takes place.
It is there in front of the massive stones being set in the opening scene, Gingoire (the exceptional Gian Marco Schiaretti), introduces the cathedral in “Le Temps des cathedrals.” In the square in front of Notre Dame we meet the stratified economic classes of Paris, i.e. the undocumented immigrants who seek asylum and sleep in front of the cathedral. It is from there that the action leads out to the streets of Paris, beyond and back again. Thus, throughout, the cathedral becomes a moral, spiritual, ironic presence. It signifies a religion that encourages brotherly/sisterly love but rarely lives up to its aspirations in the actions of the clerics and the classist citizenry we meet.
Luc Plamondon’s lyrics propel the arc of development in composer Richard Cocciante’s sung-through, pop-rock, people’s opera. Generally, the almost three hour production follows Hugo’s novel, omitting minor characters that lightly impact the plot of the original work.
Cocciante’s florid music and Plamondon’s pop-rock lyrics comprise a total of 51 separate songs. Many of these are lyrical ballads describing the principal characters’ feelings about the situations they find themselves in. Others are powerful anthems, like the gorgeous signature song “La Temps des cathedrals,” and “Florence,” when Frollo and Gingoire discuss how Gutenberg’s printing press and Luther’s 95 Thesis will kill the old Paris and the cathedral as they make way for the new in the roiling undercurrents of society, as immigrants flood the city bringing with them new trends and transformations as they swell the population of Paris.
Live musicians accompany pre-recorded tracks performed in French with English surtitles provided on two screens to the left and right of the stage. Unlike opera the performers’ voices are electronically enhanced. At times one focuses more on sound than the quality of the performance. But all the principals have gorgeous voices and their talents are memorable and exquisite for this amazing, iconic musical epic.
There are seven principal characters who represent the inner and outer circles of the populace. These include Gingoire the poet and narrator who codifies the settings around Paris and introduces the characters and situations. Gingoire is the herald who announces the shifts in action. He moves among the Parisians and is a friend of those who have status like Frollo the Archdeacon of Notre Dame (the superb Daniel Lavoie). Floating among the undocumented immigrants Gingoire gets to know Clopin and Esmeralda in Act I, proving he is no respecter of classes and persons. In Act II he informs Clopin (Jay), the leader of the undocumented immigrants, that Esmeralda is in prison. Gringoire is present to understand how the immigrants try to come to Esmeralda’s aid to no avail. Her gender, her striking beauty, her class and above all her destiny, damns her.
In his movements around the city when Gringoire stumbles into the wretched Court of Miracles, it is then he becomes acquainted with Clopin (Jay) and Esmeralda (Hiba Tawaji). Situated outside the city walls, the ironically named court is the den of the impoverished undocumented, and the city’s outcasts. Clopin has created his own set of rules for the Court of Miracles that those who live there must follow. Kindly, he protects teenager Esmeralda allowing her to take refuge in the Court. Like a brother, he warns her against being too trusting of men.
Emeralda, a Bohemian from Spain is the catalyst who moves the action and emblazons the passions of men to love, hate or exploit her. As she prettily dances in the square, she unfortunately attracts the attention of the men of power, Archdeacon Frollo and Phoebus (Yvan Pedneault), captain of the King’s cavalry. They both want her. She becomes the vulnerable pawn who they attempt to exploit, abuse, then expediently toss away. Her youth, innocence and beauty are the fatal instruments that contribute to effecting her demise as the men wantonly pursue her sexual affections. The only one whose love she returns is Phoebus. However, he is pledged to marry a woman of consequence and class, Fleur-de-Lys (Emma Lépine). Eventually, he chooses a life of unhappiness with Fleur-de Lys because it is one which satisfies his need for stature and security though it is empty of love and pleasure.
Quasimodo, the lame, hunchback bell ringer also notes Esmeralda’s beauty and unhappily contrasts himself with her. She is someone he wishes to love but he knows it would be an impossibility. To confirm his “celebrity” as the most externally loathsome of all creatures, he is crowned “The King of Fools” in the songs “La Fête des fous” and “Le Pape des fous.”
Staged as frenetic, wildly antic numbers that involve the large cast, we watch as five acrobats, two breakers, and sixteen dancers, all of them marvelously talented, hurl themselves across the stage, spin and gyrate. These two numbers are visually exciting as most of the songs which combine dance are. Importantly, they create empathy, revealing how Quasimodo is treated by a world that worships physical loveliness and eschews deformity. However, Esmeralda has a kind heart and wishes that all humanity could become like brothers/sisters with no boundaries. She makes a connection of consciousness with him. Quasimodo becomes Esmeralda’s chief protector after she gives him a drink during his punishment for attempting to kidnap her on Frollo’s orders.
Quasimodo is Frollo’s puppet, having been raised by the cleric when he was orphaned as a baby. Whatever Frollo says to do he does because he is indebted to him. In the powerful and beautiful “Belle,” Frollo, Quasimodo and Phoebus secretly reveal their love of Esmeralda, claiming her for themselves. However, only Quasimodo loves her unselfishly without seeking to take anything from her, unlike Frollo and Phoebus.
The conflict intensifies when Frollo, unable to deal with his unholy, sexual feelings for Esmeralda attempts to take her for himself in an act of self-destruction and sinfulness, “Tu vas me détruire.” He has her falsely arrested for killing Phoebus, a lie. He knows she loves Phoebus and his jealousy enrages and victimizes him. His desire for her turns to hatred. Frollo visits her in jail where he propositions her to give herself to him and reclaim her life. Frollo has given up his identity and holiness embracing the hypocrisy of his lust and murderous jealousy of Phoebus. He is Archdeacon only in his robes and title. For her part Esmeralda realizes she fulfills her destiny loving Phoebus and sacrificing her life.
Daniel Lavoie who originated the role of Frollo masterfully reveals the character’s self torment, rage and incredible hurt, throwing off any mantel of faith to possess Esmeralda. In his portrayal Lavoie reveals Frollo’s doom as he blasphemes his religion, all in the shadows of Notre Dame. Though Quasimodo realizes Frollo’s malevolence and impulse to hang Esmeralda, there is little he can do to stop Frollo’s actions. Only after she hangs does he answer Frollo’s wickedness.
Notre Dame de Paris is a fitting title for this incredible production. The cathedral represents the chief moral and structural backdrop of the themes, characters and conflicts that reveal how religion, unless lived spiritually is a damnation. Also, it is upon this backdrop that we understand how fate and destiny unravel for Esmeralda, Frollo, Quasimodo and Phoebus, as they struggle to find but ultimately lose their place in the dynamically changing Paris of 1482.
This version is incredibly current in its attention to the plight of the undocumented immigrants, a situation that will only worsen globally with climate change and Putin’s War in Ukraine. Also, the production reveals the plight of women in the hands of men who have the power to abuse and destroy them. Hugo’s attention to humanity and the incompetence of religion to deny decency and hope to individuals who are stateless, classless and viewed by citizens as lower than worms is all the more striking because the situation still abides. One asks the question does anything change except the progress of science and technology when it delivers monetarily? Only the gargoyles can answer. Since this production was first mounted in 1998, progress reveals how much our humanity has deteriorated and even the cathedral itself has suffered a cataclysm that will never return it to its former ancient glory.
Kudos to the the director Gilles Maheu whose vision was faithfully melded in the staging, choreography by Martino Müller, set design by Christian Rätz, costume design by Caroline Van Assche, lighting design by Alain Lortie and hair and wig design by Sébastien Quinet. Praise also goes to musical director Matthew Brind and surtitles by Jeremy Sams. The production takes one’s breath away and every song is exceptionally beautiful in French and poetically lyrical if one understands the language.
Though Notre Dame de Paris has finished its New York City run you may catch it elsewhere as it is on tour and heading to Canada. Check out their various websites: https://nac-cna.ca/en/event/20729 http://www.avenircentre.com/ and look for it to return to the U.S. and perhaps New York City in the future.