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Last spring, Alan Menken and Stephen Schwartz re-teamed to bring a theatrical adaptation of The Hunchback of Notre Dame to life (a previous version had toured Europe), and the show premiered at La Jolla Playhouse and Paper Mill Playhouse. Now, fans can experience the music for themselves with The Hunchback of Notre Dame Studio Cast Recording available on January 22. Watch this behind-the-scenes look from Playbill.com with highlights from the recording process:
From just a short clip, it's already evident that the full album is going to sound absolutely gorgeous. The recording features performers from the original productions, including Michael Arden as Quasimodo, Patrick Page as Dom Claude Frollo, Ciara Renée as Esmeralda, Andrew Samonsky as Captain Phoebus de Martin, and Erik Liberman as Clopin Trouillefou. If you need any more convincing of the album's greatness, just watch this video of Michael Arden performing 'Out There.'
The musical was billed as a 'dramatic retelling of the famous love story on a grand scale, with a lush, emotionally rich score,' and features some songs from the film, plus some new ones just for the show. Composer Alan Menken posted a picture to his Instagram during the recording days, and it looked like a lot of fun!
Fans who pre-order the album receive instant downloads of 'The Bells of Notre Dame,' 'Out There,' 'Topsy Turvy, Pt. 1,' and 'Top of the World.'
We have the full tracklist here:
'Olim'
'The Bells of Notre Dame'
'Out There'
'Topsy Turvy, Pt. 1'
'Rest and Recreation'
'Rhythm of the Tambourine'
'Topsy Turvy, Pt. 2'
'Intro Notre Dame'
'God Help the Outcasts'
'Top of the World'
'Tavern Song (Thai Mol Piyas)'
'Heaven's Light'
'Hellfire'
'Esmeralda'
'Entr'acte'
'Flight Into Egypt'
'The Court of Miracles'
'In a Place of Miracles'
'Justice In Paris'
'Someday'
'While the City Slumbered'
'Made of Stone'
'Finale'
In honor of the 20th anniversary of one my favorite films of all time The Hunchback of Notre Dame, I give you this story, which is what I imagine what a concert experience of the film would be like; reminiscent of that other great Victor Hugo novel-turned-stage musical-turned-movie musical Les Misérables.
This story combines elements from all three of Disney's adaptations of Hunchback.
Yes, Disney has actually made three adaptations, not just one, of Hunchback.
1. The Animated Film in 1996, which I hope everyone has seen by now.
2. Der Glöckner von Notre Dame, the first stage musical which was produced in Berlin, Germany from 1999-2002.
3. And the American stage musical of the same name, which is even closer to the original novel than the other two adaptations. It premiered in the La Jolla Playhouse, San Diego, California in late 2014, but sadly, will not be making its way to Broadway anytime soon. Why? I don't know.
All three versions were done by Alan Menken and Stephen Schwartz. Cast recording are available for the film and both stage versions, but they are pretty expensive online. Thankfully are some people kind enough to post those recordings, of the songs and the shows themselves, on YouTube.
In my story, I will bring together all the best parts of all three versions, along with a few original ideas and content of my own, (which I hope does not interfere with the original story too much.) to create what I believe would be a definitive experience of Hunchback as a concert. Just the songs, with some minimal narration to push the story forward.
I will also try to bring in elements from the old stage shows that used to be in the Disney Parks, and elements from the various foreign dubs. Especially the French dub for obvious reasons.
Song lyrics are in italics while spoken dialogue, and my narration, is not. Certain song lyrics are CAPITALIZED because, to me, it looks more dramatic that way.
Sit back, relax, and listen to the music of Bells..THE BELLS OF NOTRE DAME.
All rights belong to Victor Hugo and Disney. The incredible music and lyrics belong to Alan Menken and Stephen Schwartz. Any content from neither of those sources is mine.
Here you are.
After you have paid a hefty admission for your ticket, you are finally in the arena, a place normally reserved for sporting events, to see Disney's THE HUNCHBACK OF NOTRE DAME In Concert. You are among many, many, many, fellow fans who are also here to witness this incredible event unfold on stage and in song. Many of them have already taken their seats and have bought much of the various pieces of new merchandise you saw on the way inside (T-Shirts, plushies, posters, programs, Original Cast CDs, etc.) If I were you I would buy up everything you saw back there, because Disney doesn't make a whole lot of Hunchback merchandise anymore. Buy it while you can!
You take your seat and take in the atmosphere around you. Besides the multitude of fans surrounding you, you also take notice of the empty stage in front of you.
On stage is a 50 foot model of the facade of Notre Dame Cathedral, which is the centerpiece of the story and the production itself. The Facade is of simple design; the only really detailed part is the center Rose Window. It is meant to be reminiscent of Quasimodo's small wooden village in the Bell Tower. On either side of the Cathedral are ascending pews meant for the 100 member choir that will occupy the stage. The pews will occupy 50 choir members on each side. There is also a large projection screen surrounding the stage behind the Cathedral, which will help enhance the environment of the production. The orchestra is down below in the orchestra pit, preparing to begin the incredible score by Alan Menken and Stephen Schwartz.
After a few more minutes of waiting, which feels more like an eternity..
It begins.
ACT I THE BELLS OF NOTRE DAME
The entire arena goes dark. For a moment, there is total darkness and silence.
The silence is broken by the pleas of ringing Church Bells.
Silence again.
The Choir begins singing a sacred hymn.
CHOIR
OLIM
OLIM DEUS ACCELERE
HOC SAECULUM SPLENDIUM
ACCELERE FIAT VENIRE OLIM
(In the dark, the choir begins coming down the aisles in the arena, and are filing up on stage and filling the pews on both sides. 50 members on each side, a full 100 member choir. They repeat the hymn again.)
CHOIR
OLIM
OLIM DEUS ACCELERE
HOC SAECULUM SPLENDIUM
ACCELERE FIAT VENIRE OLIM
(The Bells toll and ring one more time.)
(The Powerful Choir and Orchestra begin the opening vocals of THE BELLS OF NOTRE DAME and the lights are gradually illuminating the stage. The large projection screen surrounding the stage behind the Cathedral, imitates morning light.)
(The Choir is revealed to be hooded monks in light gray habits; hoods covering their heads as they peer down on their choir books.)
(Two of the hooded monks step forward out of the Cathedral doors on stage.)
(The Monk on the right removes his hood, and underneath the hood is an elderly man, with a wise and kind face. He has neck-length white hair coming down from the red skullcap on his head, and is clean shaven. It is the Archdeacon of Notre Dame.)
ARCHDEACON
Morning in Paris, the city awakes to THE BELLS OF NOTRE DAME
(The Archdeacon makes the Sign of The Cross on himself and Blesses the audience in the same way.)
(The Monk on the left removes his hood and underneath the hood is a much younger man with a handsome and mischievous face. He has neck-length black hair coming down from his head, along with a pointed black beard, and a large gold earring on his right ear. It is Clopin, the King of the Gypsies.)
CLOPIN
The fisherman fishes, the bakerman bakes to THE BELLS OF NOTRE DAME
ARCHDEACON
To the big bells as loud as the thunder..
CLOPIN
To the little bells soft as a psalm..
ARCHDEACON
And some say the soul of the city is the toll of THE BELLS..
ARCHDEACON and CLOPIN
THE BELLS OF NOTRE DAME
ARCHDEACON
On the Morning of January 6th, 1482, the good citizens of Paris gathered at the Cathedral of Notre Dame for the Feast of the Epiphany of Our Lord..
CLOPIN
..and for the Festival of Fools..
ARCHDEACON
As they were awakened to THE BELLS OF NOTRE DAME to begin this glorious day which The Lord has made.
(The Archdeacon makes the Sign of The Cross on himself and Blesses the audience the same way)
CLOPIN
Listen, they are beautiful, no? The bells! So many colors of sound, so many changing moods. But, do you think that they ring all by themselves? No! There is a bellringer. Up there, high, high in the dark bell tower, lives the mysterious bell ringer.
ARCHDEACON
To hear these bells is to be reminded of an extraordinary time, when this lowly bellringer brought the city of Paris to its knees. And who better to tell you this story than those who know it best of all.
(The Archdeacon gestures to both Clopin and himself)
CLOPIN
But, we must warn you in advance, You are about to see an ugly monster; for this is a tale of a man and a monster.
ARCHDEACON
Just who that might be is for you to decide.
(The Archdeacon and Clopin step off to their respective sides as the light dim a little, and two new characters join the scene. The two brothers named Frollo arrive on stage. The one on the left is Claude Frollo, he is dressed in a tight back tunic and has dark hair, with an intimidating presence. The one on the right is Jehan Frollo, he is dressed in lighter and more colorful clothes, and has long brown hair with a more mischievous presence.)
ARCHDEACON and CLOPIN
Many long years ago did this story begin in this Place of NOTRE DAME
Two orphan brothers were both taken in by the Grace of NOTRE DAME
ARCHDEACON
Claude Frollo, the older who cared for his brother
CLOPIN
Young Jehan Frollo, full of beauty and charm
ARCHDEACON and CLOPIN
And they lived, and they grew, and awoke to the music of BELLS,
THE BELLS OF NOTRE DAME
CHOIR
KYRIE ELEISON
CLAUDE FROLLO
Oh dear brother, beneath these arches and this sacred dome..
CHOIR
KYRIE ELEISON
CLAUDE FROLLO
We are blessed to find our sanctuary and our home.
(The two brothers embrace.)
JEHAN
Come with me dear brother! I'm heading into town for a little fun.
CLAUDE FROLLO
No, Jehan, No. You must stay home and write out your catechism.
JEHAN
No, you must come with me to the bar!
CLAUDE FROLLO
Jehan! I am not going to lie for you again if you stay up late.
JEHAN
Yes you will! Brother dear! You are so good to me.
(Jehan runs off and Claude Frollo follows suit to catch him)
ARCHDEACON
Righteous Claude Frollo was ever more drawn like a son to NOTRE DAME
CLOPIN
Not like his profligate brother Jehan who'd have none of NOTRE DAME
ARCHDEACON
Though as brothers they loved one another Frollo watched in despair and alarm
CLOPIN
As Jehan who grew more wild, and defied, and defiled all the laws..
ARCHDEACON and CLOPIN
The Laws of NOTRE DAME
(The two brothers return to the scene. Frollo is now dressed in a monk's habit and his hair is much grayer. Jehan has not changed at all, except for the bottle of wine he is holding in his hand. He also slurs and staggers around, drunk.)
CLAUDE FROLLO
Jehan, where have you been? Why weren't you in evening Mass?
JEHAN
It's your birthday today! We must celebrate!
(A gypsy girl enters the scene)
I brought you a gift. She's a friend of mine.
CLAUDE FROLLO
(Shocked)
A gypsy girl in our room?
JEHAN
Florika – she is a beauty, isn't she? This is my brother, Claude.
(Florika struts around Claude Frollo seductively, and attempts to feel him up. Claude Frollo is clearly shocked by all of this.)
FLORIKA
Happy Birthday…Claude. Don't be shy. I can see you want to. I can see it in your eyes. Ha-ha! I can feel it, too!
(Claude Frollo rejects her advances and shoves her away)
CLAUDE FROLLO
Stop!
FR. DUPIN
Claude?
JEHAN
It's Fr. Dupin! Help me hide her!
(Florika hides and then Fr. Dupin enters the scene, a rather large monk in a brown habit and a clean shaven head)
FR. DUPIN
What is going on in here?
JEHAN
Nothing, Father!
FR. DUPIN
Is it nothing, Claude?
CLAUDE FROLLO
Tell him, Jehan. If you won't, I will!
(Claude Frollo reveals Florkia, and Fr, Dupin is scandalized)
CHOIR
KYRIE ELEISON
FR. DUPIN
You both must leave, this Holy refuge where you've dwelled.
CLAUDE FROLLO
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Leave? But Father—
FR. DUPIN
Sorry Claude, but I have no choice, you both are expelled!
(Claude Frollo is shocked that he has been defrocked; framed for his brother's sin)
CLAUDE FROLLO
Jehan…
JEHAN
What did you think? That they wouldn't send us away? Who do you think these people are?
CLAUDE FROLLO
Jehan, how could you betray me? These people have given us a home, and comfort, and safety!
JEHAN
Comfort?! You call this comfort? You call this safety? Well, you can have it! You're welcome to it!
(Jehan and Florkia flee the scene, as does Claude Frollo hanging his head is sorrow and shame.)
ARCHDEACON
Jehan and the girl left, and Frollo never heard from his brother again.
ARCHDEACON and CLOPIN
Frollo had been completely disgraced from the ranks of NOTRE DAME
He had been stripped of his Priesthood and had been forced to leave the Church of NOTRE DAME
CLOPIN
He blamed the sinful gypsy girl for his fall,
So he entered the courts of law in order to purge Paris of them all.
ARCHDEACON
Judge Claude Frollo believed himself to be a man with morals so pristine
CHOIR
KYRIE ELEISON
ARCHDEACON
That he swore he would make all of Paris just as clean.
(The Archdeacon steps forward to the audience)
ARCHDEACON
In his anger and obsession, Frollo had forgotten our Lord's Commandment; that we are to love our enemy, forgive and do good to those who have wronged us.
We must hate sins, and love sinners. We must see ourselves as the worst sinner of all, lest we fall to pride.
Let us repent of our sins, for this is what must be done for our salvation.
(The Archdeacon makes the Sign of The Cross on himself and Blesses the audience the same way, and leaves stage right. The lights go dark, the large projection screen turns to night. Clopin steps forward to continue the scene…)
CLOPIN
Dark was the night when our tale was begun
On the docks near NOTRE DAME
(A Gypsy mother enters the scene, carrying a crying baby)
GYPSY MOTHER
Hush, little one.
CLOPIN
A poor frightened Gypsy slid silently under the docks near NOTRE DAME
(The baby keeps crying)
GYPSY MOTHER
Please, please be quiet.
CLOPIN
But a trap had been laid for the Gypsy
And she gazed up in fear and alarm
At a figure whose clutches were iron as much as THE BELLS
THE BELLS OF NOTRE DAME
CHOIR
KYRIE ELEISON
(Enter Judge Claude Frollo, now dressed in a black robe of high rank and judgment with a cap to match. His hair is now white and is a presence feared by all. He is accompanied by two soldiers)
CLOPIN
Judge Claude Frollo longed to purge the world of vice and sin
CHOIR
KYRIE ELEISON
CLOPIN
And he saw corruption everywhere
Except within
FROLLO
You there! What are you hiding?
GYPSY MOTHER
Please Sir, I only come into the city seeking help for my baby!
FROLLO
A Baby? Likely story. What have you stolen? See what that gypsy has in her hands.
(The soldiers step forward to arrest the Gypsy Mother)
CLOPIN
And the poor woman ran for her life!
(The gypsy woman escapes the soldiers, and runs around frantically before approaching the doors of Notre Dame)
CHOIR
DIES IRAE, DIES IRAE
DIES ILLA, DIES ILLA
SOLVET SAECLUM IN FAVILLA
TESTE DAVID CUM SIBYLLA
QUANTUS TREMOR EST FUTURUS
QUANDO JUDEX EST VENTURUS
GYPSY MOTHER
Sanctuary! Please give us sanctuary!
(Frollo stops her, strikes her down dead, and snatches the bundle from her. She lays down on the floor dead. He is horrified by the bundle's contents)
FROLLO
This is not a child! It is a demon! I shall send it back where it belongs.
CHOIR
SOLVET SAECLUM IN FAVILLA
DIES IRAE
DIES ILLA
(Frollo prepares to throw the baby 'down a well', actually off the stage)
ARCHDEACON
Stop!
CLOPIN
Cried the Archdeacon.
(The Archdeacon has returned and has shed the monk's habit. He is now dressed in a white habit, a red stole, and a golden pectoral cross. He rushes over to the body of the Gypsy Mother. He makes the Sign of The Cross on himself and on her)
ARCHDEACON
What have you done? What have you in your hands?
FROLLO
An unholy demon that this woman has borne.
ARCHDEACON
Lord help us! She's dead!
FROLLO
Dead?
ARCHDEACON
See there the innocent blood you have split
On the steps of NOTRE DAME
FROLLO
I was merely enforcing the law. She ran, I pursed. I never meant to hurt her.
ARCHDEACON
Now you would add this child's blood to your guilt
On the steps of NOTRE DAME?
FROLLO
I am guiltless. My conscience is clear. Autocom 2013.3 keygen v1.
ARCHDEACON
You can lie to yourself and your minions
You can claim that you haven't a qualm
But you never can run from
Nor hide what you've done from the Eyes
The very Eyes of NOTRE DAME!
(Our Lord Christ, The Virgin Mary, The Angels, and The Saints, appear on the large projection screen surrounding the stage behind the Cathedral. Frollo looks up in awe and trembling, while the Archdeacon looks up in awe and reverence, and makes the Sign of The Cross on himself again)
CHOIR
KYRIE ELEISON
ARCHDEACON
And for one time in his life of power and control..
CHOIR
KYRIE ELEISON
ARCHDEACON
Frollo felt a twinge of fear
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For his immortal soul
FROLLO
What must I do, Father?
ARCHDEACON
Care for the child, and raise it as your own.
FROLLO
I can't! This misshapen monster can have no life here!
(The Archdeacon gives Frollo a look of great warning. Frollo realizes he has lost this argument; he looks up again at Our Lord Christ, The Virgin Mary, The Angels, and The Saints, in awe and trembling..)
ARCHDEACON
And the Saints looked down on Frollo
From their stone facade..
CHOIR
KYRIE ELEISON
ARCHDEACON
And he knew what he must do as Penance
In the eyes of God
FROLLO
You're right, Father. God has given me this challenge. I will take this.. thing and look after it. But I ask a favor of you in return.
ARCHDEACON
What is it?
FROLLO
Let us agree never to speak of what has happened here today. In return, I will raise this child as my own.
ARCHDEACON
Very well.
FROLLO
I have no home to speak of. Let him live here, in the Church.
ARCHDEACON
Live here? Where?
FROLLO
Anywhere
Just so he's kept locked away where no one else can see
The bell tower, perhaps. And who knows? Our Lord works in mysterious ways.
Even this foul creature may yet prove one day to be
Of use to me
CLOPIN
And so Frollo gave the child a cruel and thoughtless name;
A name that means 'half-formed'.
FROLLO
Quasimodo
(Frollo leaves the scene. Two other hooded monks come in and take the body of the Gypsy Mother away offstage. The large projection screen becomes daylight again. The Archdeacon steps forward to continue the scene with Clopin)
ARCHDEACON and CLOPIN
Now here is a riddle to guess if you can
Sing THE BELLS OF NOTRE DAME
(The Cathedral doors open again and Frollo returns with another man, hunchbacked, one-eyed, and lame; Quasimodo. Quasimodo enters the scene, a man with the soul of an angel but trapped in the body of a demon. He is hunched over, walks with a limp, has large red hair, dressed in green rags, and has a very ugly face.)
FROLLO and QUASIMODO
Who is the monster and who is the man?
(A bell rope comes down from the ceiling and Frollo directs Quasimodo to ring it. He does so with great strength)
ARCHDEACON and CLOPIN
Sing The Bells
Bells
Bells
Bells
Bells
Bells
Bells
Bells
BELLS
OF
NOTRE
DAME!
(Five Large Bells come down ringing and swinging from the ceiling, as the choir and orchestra finishes the opening song with a powerful flourish.)
(The audience applauds with great enthusiasm.)
CHOIR TRANSLATION
Olim, Olim, Deus Accelere (Someday, someday, God speed)
Hoc saeculum splendium (This bright millenium)
Accelere fiat venire olim (Let it come someday)
Kryie Elesion (Lord Have Mercy)
Dies Irae, Dies Illa (Day of wrath, that day)
Solvet saeclum in favilla (Shall consume the world in ashes)
Teste David cum sibylla (As prophesied by David and the sibyl)
Quantus tremor est futurus (What trembling is to be)
Quando Judex est venturus (When the Judge is come)
So that was my interpretation of THE BELLS OF NOTRE DAME the opening number of THE HUNCHBACK OF NOTRE DAME (In Concert)
So as I said before; my story brings together all the best parts of all three versions, along with a few original ideas and content of my own, (which I hope does not interfere with the original story too much.) to create what I believe would be a definitive experience of Hunchback as a concert.
Here is what I did:
I made the Archdeacon and Clopin the twin narrators of the story. The Archdeacon narrates everything that happens inside Notre Dame, while Clopin narrates everything that happens outside Notre Dame. I did this because I wanted give The Archdeacon the bigger role I feel he deserves.
One of the reasons why I love Hunchback so much are the clear, direct, respectful, and reverent, references to Christianity and all related aspects (God, The Church, The Saints, hymns, virtues, miracles, etc.) A very rare occurrence in a Disney film where most of the time it is done much more vaguely, rather than directly. Don't get me wrong, all the other Disney films treat Christian virtue very respectfully (as Walt would have wanted it), its just that I love how Hunchback addresses Christianity directly without compromise. The film had direct Christian references, both musicals had even more Christian references, and I added even more Christian references! I feel they are appropriate to the story.
The American Musical adapted more from the original novel than does the film or the German musical does. It included elements like Frollo's slacker brother Jehan and Frollo being the Archdeacon. What I also loved about the American musical is how they explained why Frollo hates gypsies so much. Everyone knows Frollo hates gypsies and would gladly like see them gone, but only the American Musical bothered to ask the question: Why?
Answer: Because it was a gypsy girl that caused his brother to be expelled from the seminary. This event also stirred up lust inside Frollo that was forgotten, until Esmeralda appeared and this is what led to his downfall. It doesn't also help that Frollo became extremely prideful and saw everyone else to be greater sinners than himself.
KYRIE ELEISON
CLOPIN
And he saw corruption everywhere
Except within
FROLLO
You there! What are you hiding?
GYPSY MOTHER
Please Sir, I only come into the city seeking help for my baby!
FROLLO
A Baby? Likely story. What have you stolen? See what that gypsy has in her hands.
(The soldiers step forward to arrest the Gypsy Mother)
CLOPIN
And the poor woman ran for her life!
(The gypsy woman escapes the soldiers, and runs around frantically before approaching the doors of Notre Dame)
CHOIR
DIES IRAE, DIES IRAE
DIES ILLA, DIES ILLA
SOLVET SAECLUM IN FAVILLA
TESTE DAVID CUM SIBYLLA
QUANTUS TREMOR EST FUTURUS
QUANDO JUDEX EST VENTURUS
GYPSY MOTHER
Sanctuary! Please give us sanctuary!
(Frollo stops her, strikes her down dead, and snatches the bundle from her. She lays down on the floor dead. He is horrified by the bundle's contents)
FROLLO
This is not a child! It is a demon! I shall send it back where it belongs.
CHOIR
SOLVET SAECLUM IN FAVILLA
DIES IRAE
DIES ILLA
(Frollo prepares to throw the baby 'down a well', actually off the stage)
ARCHDEACON
Stop!
CLOPIN
Cried the Archdeacon.
(The Archdeacon has returned and has shed the monk's habit. He is now dressed in a white habit, a red stole, and a golden pectoral cross. He rushes over to the body of the Gypsy Mother. He makes the Sign of The Cross on himself and on her)
ARCHDEACON
What have you done? What have you in your hands?
FROLLO
An unholy demon that this woman has borne.
ARCHDEACON
Lord help us! She's dead!
FROLLO
Dead?
ARCHDEACON
See there the innocent blood you have split
On the steps of NOTRE DAME
FROLLO
I was merely enforcing the law. She ran, I pursed. I never meant to hurt her.
ARCHDEACON
Now you would add this child's blood to your guilt
On the steps of NOTRE DAME?
FROLLO
I am guiltless. My conscience is clear. Autocom 2013.3 keygen v1.
ARCHDEACON
You can lie to yourself and your minions
You can claim that you haven't a qualm
But you never can run from
Nor hide what you've done from the Eyes
The very Eyes of NOTRE DAME!
(Our Lord Christ, The Virgin Mary, The Angels, and The Saints, appear on the large projection screen surrounding the stage behind the Cathedral. Frollo looks up in awe and trembling, while the Archdeacon looks up in awe and reverence, and makes the Sign of The Cross on himself again)
CHOIR
KYRIE ELEISON
ARCHDEACON
And for one time in his life of power and control..
CHOIR
KYRIE ELEISON
ARCHDEACON
Frollo felt a twinge of fear
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For his immortal soul
FROLLO
What must I do, Father?
ARCHDEACON
Care for the child, and raise it as your own.
FROLLO
I can't! This misshapen monster can have no life here!
(The Archdeacon gives Frollo a look of great warning. Frollo realizes he has lost this argument; he looks up again at Our Lord Christ, The Virgin Mary, The Angels, and The Saints, in awe and trembling..)
ARCHDEACON
And the Saints looked down on Frollo
From their stone facade..
CHOIR
KYRIE ELEISON
ARCHDEACON
And he knew what he must do as Penance
In the eyes of God
FROLLO
You're right, Father. God has given me this challenge. I will take this.. thing and look after it. But I ask a favor of you in return.
ARCHDEACON
What is it?
FROLLO
Let us agree never to speak of what has happened here today. In return, I will raise this child as my own.
ARCHDEACON
Very well.
FROLLO
I have no home to speak of. Let him live here, in the Church.
ARCHDEACON
Live here? Where?
FROLLO
Anywhere
Just so he's kept locked away where no one else can see
The bell tower, perhaps. And who knows? Our Lord works in mysterious ways.
Even this foul creature may yet prove one day to be
Of use to me
CLOPIN
And so Frollo gave the child a cruel and thoughtless name;
A name that means 'half-formed'.
FROLLO
Quasimodo
(Frollo leaves the scene. Two other hooded monks come in and take the body of the Gypsy Mother away offstage. The large projection screen becomes daylight again. The Archdeacon steps forward to continue the scene with Clopin)
ARCHDEACON and CLOPIN
Now here is a riddle to guess if you can
Sing THE BELLS OF NOTRE DAME
(The Cathedral doors open again and Frollo returns with another man, hunchbacked, one-eyed, and lame; Quasimodo. Quasimodo enters the scene, a man with the soul of an angel but trapped in the body of a demon. He is hunched over, walks with a limp, has large red hair, dressed in green rags, and has a very ugly face.)
FROLLO and QUASIMODO
Who is the monster and who is the man?
(A bell rope comes down from the ceiling and Frollo directs Quasimodo to ring it. He does so with great strength)
ARCHDEACON and CLOPIN
Sing The Bells
Bells
Bells
Bells
Bells
Bells
Bells
Bells
BELLS
OF
NOTRE
DAME!
(Five Large Bells come down ringing and swinging from the ceiling, as the choir and orchestra finishes the opening song with a powerful flourish.)
(The audience applauds with great enthusiasm.)
CHOIR TRANSLATION
Olim, Olim, Deus Accelere (Someday, someday, God speed)
Hoc saeculum splendium (This bright millenium)
Accelere fiat venire olim (Let it come someday)
Kryie Elesion (Lord Have Mercy)
Dies Irae, Dies Illa (Day of wrath, that day)
Solvet saeclum in favilla (Shall consume the world in ashes)
Teste David cum sibylla (As prophesied by David and the sibyl)
Quantus tremor est futurus (What trembling is to be)
Quando Judex est venturus (When the Judge is come)
So that was my interpretation of THE BELLS OF NOTRE DAME the opening number of THE HUNCHBACK OF NOTRE DAME (In Concert)
So as I said before; my story brings together all the best parts of all three versions, along with a few original ideas and content of my own, (which I hope does not interfere with the original story too much.) to create what I believe would be a definitive experience of Hunchback as a concert.
Here is what I did:
I made the Archdeacon and Clopin the twin narrators of the story. The Archdeacon narrates everything that happens inside Notre Dame, while Clopin narrates everything that happens outside Notre Dame. I did this because I wanted give The Archdeacon the bigger role I feel he deserves.
One of the reasons why I love Hunchback so much are the clear, direct, respectful, and reverent, references to Christianity and all related aspects (God, The Church, The Saints, hymns, virtues, miracles, etc.) A very rare occurrence in a Disney film where most of the time it is done much more vaguely, rather than directly. Don't get me wrong, all the other Disney films treat Christian virtue very respectfully (as Walt would have wanted it), its just that I love how Hunchback addresses Christianity directly without compromise. The film had direct Christian references, both musicals had even more Christian references, and I added even more Christian references! I feel they are appropriate to the story.
The American Musical adapted more from the original novel than does the film or the German musical does. It included elements like Frollo's slacker brother Jehan and Frollo being the Archdeacon. What I also loved about the American musical is how they explained why Frollo hates gypsies so much. Everyone knows Frollo hates gypsies and would gladly like see them gone, but only the American Musical bothered to ask the question: Why?
Answer: Because it was a gypsy girl that caused his brother to be expelled from the seminary. This event also stirred up lust inside Frollo that was forgotten, until Esmeralda appeared and this is what led to his downfall. It doesn't also help that Frollo became extremely prideful and saw everyone else to be greater sinners than himself.
This one of many reasons why Frollo on of my favorite characters of all time (much less from just Disney) because he a prideful man who does not believe anything he is doing is evil. He only believes he is doing good, even though he is not. It also helps that he is the representative of the law, rather being a ordinary criminal. He can get away with almost anything, because he IS the law.
I decided to make his backstory even more tragic and painful by making him be expelled along with Jehan from Notre Dame. In the American Musical, Frollo is spared from Jehan's punishment. I did this because I want his hate for gypsies to be even stronger, more bitter, and more personal; they seduced his brother, stirred up lust in his soul, and disgraced him from the ranks of the Clergy, and so they must all be punished for their sins. That hurts.
I also did this because I want Frollo, as a villain, to be a politician rather than a priest. Prior to the American Musical, I could not figure out how any of Frollo's actions would play out if he were the archdeacon instead of the Minister of Justice. After seeing that said Musical, I now seehow that would have played out and..man, that was sick. I don't blame Disney at all, they were only adapting the source material, I just felt it was too much.
That being said, I support and only accept, Frollo and the Archdeacon being separate characters. Having the two being separate characters makes Frollo as a villain much easier to handle and the Archdeacon remains a hero, being a pure Christian Priest. I strongly believe that the world, both in the entertainment world and the real world, needs more Christ-imitating Clergymen like the Archdeacon in Disney's Hunchback.
Another interesting detail from the American musical is about Quasimodo's origins. He is not just any random Gyspy's woman's child; he is actually Jehan's and Florika's child. Yes, Quasimodo is not just Frollo's 'step son', he is actually Frollo's nephew. You creeped out by this? I know was when I found out about that! Is that the same case here? I'll let you decide that.
In case I did not do a good job enough of describing the character's appearances; The Archdeacon, Clopin, Judge Claude Frollo, and Quasimodo, are all the same designs as the animated film.