DOCSLIB.ORG

Hunchback HHS Cast of 2019

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Hunchback HHS Cast of 2019 Hunchback HHS Cast of 2019 Lead Roles Quasimodo = Jake Arvay Esmeralda = Luna Vavourakis Dom Claude Frollo = Domenik Hurley Phoebus De Martin = Kohl Casella Clopin Trouillefou = Jake Peters Supporting Roles Gargoyle #1 = Liberty Vasey Gargoyle #2 = Breea Bonnett Gargoyle #3 = Larkin Richards The Hunchback of Nore Dame Gargoyle #4 = Lilly King Based on the Victor Hugo Novel Gargoyle #5 = Georgia Peters and Songs from the Gargoyle #6 = James Vance Disney Animated Feature! Statue #1 = Cole Bergquist Statue #2 = Ryleigh Hendrickson PG Statue #3 = Sami Ziatyk Statue #4 = Robyn Schreiber Rated Frederic Charlus = Braden Goldberg Featured Dancer Gypsies Dancing Hellfire Flames 1.) Marissa Callender 1.) Hadley Collins 2.) Emily Crawford 2.) Tessa Deemer 3.) Mallory DeStefano 3.) Danielle Guthrie 4.) Madison Faas 4.) Emma Howell 5.) Maria Febregas 5.) Alyssa Moody 6.) Olivia Fertig 6.) Alexia Morrow 7.) Madalyn Heinle 7.) Elisabetta Negrosiui 8.) Mekenzie Heinle 8.) Froeydis Lind Rygh 9.) Kylie Hitrik 9.) Naya Walters 10.) Kara Layhew 11.) Allison Love 12.) Tyler Spencer Only Act 1 Roles Jehan Frollo (Prologue) = Cole Bergquist Supporting Roles Florika (Prologue) = Alexia Morrow Clopin’s Gypsy Congregants / Father Dupin (Prologue) = Andrew Stanonis Revelers #1 = Olivia Solar Gentlemen Citizen = Tyler Spencer Clopin’s Gypsy Congregants / King Louis XI = Casey Quillen Revelers #2 = Vada Soenen Official = Christopher Dombrowski Clopin’s Gypsy Congregants / Madama = Kara Layhew Revelers #3 = Sam Dutch Soldiers #1 = Cole Bergquist Soldiers #2 = James Vance Only Act 2 Roles Soldiers #3 = Tyler Spencer Saint Aphrodisius = James Vance Soldiers #4 = Caleb Uhrinek Jehan Frollo (Act 2 Ghost) = Cole Bergquist Soldiers #5 = Kevin Gonzales Florika (Act 2 Ghost) = Alexia Morrow Parishioners = Selected Ensemble Priests = Selected Ensemble Citizens of Paris = Ensemble Ensemble Roles – Congregation (Choir) Soprano: Alto: 1.) Ryleigh Hendrickson 1.) Breea Bonnett 2.) Larkin Richards 2.) Tehreem Komal 3.) Sara Rugh 3.) Kylie Hitrik 4.) Tessa Deemer 4.) Naya Walters 5.) Hadley Collins 5.) Maria Febregas 6.) Olivia Solar 6.) Danielle Guthrie 7.) Vada Soenen 7.) Kara Layhew 8.) Ally Mann 8.) Madison Faas 9.) Alyssa Moody 9.) Olivia Fertig 10.) Catherine Nguyen 10.) Georgia Peters 11.) Liberty Vasey 11.) Madison Ritchie 12.) Pat Samantanarak 12.) Mallory DeStefano 13.) Alison Callender 13.) Marissa Callender 14.) Gabrielle Westerman 14.) Allison Love 15.) Taijauna Moon 15.) Emma Howell 16.) Gionna Allias 16.) Emily Crawford 17.) Joslyn Schrag 17.) Mekenzie Heinle 18.) Kiley Rae Karolkoski 18.) Madalyn Heinle 19.) Elisabetta Negrosiui 20.) Froeydis Lnd Rygh Mezzo: 21.) Mikey Jo Richards 1.) Samantha Dutch 22.) Jaylynn Sobotka 2.) Alexia Morrow 23.) Sarah Klingensmith 3.) Madison Kane 24.) Abigale Callender 4.) Sara Hanley 25.) Robyn Schreiber 5.) Lillian King 26.) Nevaeh Headen-Ward 6.) Samantha Ziatyk 27.) Justine Miller Tenor: Baritone: 1.) Cade Teribery 1.) Tyler Spencer 2.) Caleb Uhrinek Bass: 3.) Kevin Gonzales 1.) Christopher Dombrowski 4.) Andrew Stanonis 2.) Casey Quillen 5.) Scott Polly 3.) Cole Bergquist 6.) James Vance 7.) Braden Goldberg .
Load more

Recommended publications
  • Hunchback LIBVB.Pdf
    THE HUNCHBACK OF NOTRE DAME Character List (in order of appearance) DOM CLAUDE FROLLO , Archdeacon of Notre Dame Cathedral JEHAN FROLLO , Claude’s reckless younger brother FLORIKA , a Gypsy FATHER DUPIN , a priest of Notre Dame and guardian of Claude and Jehan QUASIMODO , the deformed bell-ringer of Notre Dame and Claude Frollo’s charge CLOPIN TROUILLEFOU , King of the Gypsies PHOEBUS DE MARTIN , Captain of the Cathedral Guard FREDERIC CHARLUS , Lieutenant of the Cathedral Guard ESMERALDA , a beautiful and free-spirited Gypsy KING LOUIS XI , King of France, nicknamed the Prudent OFFICIAL , an officer of the court of King Louis XI MADAME , owner of a brothel and safe haven for Gypsies SAINT APHRODISIUS , a stained-glass image that comes to life CONGREGATION , an ensemble of storytellers who portray various GYPSIES, GARGOYLES, STATUES, SOLDIERS, REVELERS, PARISHIONERS, PRIESTS, PROSTITUTES and CITIZENS of Paris CHOIR CASTING NOTE A congregation of storytellers narrates The Hunchback of Notre Dame. The designations CONGREGANT, CONGREGANTS, and CONGREGATION are used when the ensemble is narrating individually, in succession or groups, or in unison, respectively. As the play progresses, the ensemble also takes on various roles within the tale, such as GYPSIES, GARGOYLES, and SOLDIERS and moves fluidly among them. Lines or lyrics in these generic roles should be assigned to ensemble members based on your production’s unique cast and staging. — i— The Hunchback of Notre Dame Scenes and Musical Numbers ACT ONE P. BARE STAGE . 1 (#1) Olim . CONGREGATION, CHOIR . 1 (#2) The Bells of Notre Dame (Part 1) . CONGREGATION, CHOIR . 1 (#2A) The Bells of Notre Dame (Part 2) .
    [Show full text]
  • The Hunchback of Notre Dame – the Musical”
    Vol. 20 No. 2, Agustus 2019: 61-69 Mary, Esmeralda, and Frollo: A Hermeneutic Reading of “The Hunchback of Notre Dame – The Musical” Chrysogonus Siddha Malilang1 Malmö Universitet ABSTRACT This essay aims to analyze the multimodal storytelling involving songs inThe Hunchback of Notre Dame – The Musical. Two songs, “God Helps the Outcasts” and “Hellfire”, are chosen to be analyzed hermeneutically. The primary analysis is done through the scrutiny over the juxtaposition of different musical styles in the said songs. Comparisons to Victor Hugo’s original text and the Disney animated version – in which the musical is based on – is also done to shed more light on the new layers of interpretation. Keywords: musical juxtaposition; musical theater; liturgical music; multimodal storytelling ABSTRAK Mary, Esmeralda, dan Frollo: Pembacaan Hermeneutik tentang “The Hunchback of Notre Dame – The Musical”. Artikel ini bertujuan untuk mempelajari dan menganalisis multimodal story telling dalam rangkaian lagu-lagu pada The Hunchback of Notre Dame – the Musical. Dua lagu, “God Helps the Outcasts” dan “Hellfire” dipilih sebagai fokus penelitian hermeneutik. Analisis utama dilakukan melalui studi jukstaposisi gaya musik yang berbeda dalam lagu-lagu tersebut. Perbandingan dengan text asli karangan Victor Hugo dan versi animasi Disney – yang menjadi dasar naskah drama musikal ini – juga dilakukan untuk menggali interpretasi baru yang dihasilkan lebih dalam. Kata kunci: jukstaposisi musik; teater musikal; musik liturgis; multimodal storytelling Introduction When Disney re-wrote “The Hunchback of Notre Dame” into a musical performance, several As the writer began writing this essay, the news other songs from the animated version received the outlet from every corner of the world reported same treatment as “Hellfire”.
    [Show full text]
  • The Historian As Novelist
    Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College Bryn Mawr College Publications, Special Emeritus Papers Collections, Digitized Books 2001 The iH storian as Novelist John Salmon Bryn Mawr College Let us know how access to this document benefits ouy . Follow this and additional works at: http://repository.brynmawr.edu/emeritus Recommended Citation Salmon, John, "The iH storian as Novelist" (2001). Emeritus Papers. 7. http://repository.brynmawr.edu/emeritus/7 This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. http://repository.brynmawr.edu/emeritus/7 For more information, please contact [email protected]. The Historian as Novelist John Salmon Delivered March 1, 2001 To start with, let me say that the title of the novel that is the subject of this talk is misleading. It reads: "The Muskets of Gascony: The Revolt of Bernard d'Audijos by Armand Daudeyos, translated by J. H. M. Salmon." This is false. When you write a historical novel things do seem to become falsified at times. I am the actual author, and Armand Daudeyos, the supposed descendant of the hero (Daudeyos is the Gascon form of d'Audijos) is a faction. I adopted this device for several reasons. First, it adds an air of mystery to pretend that one has discovered the manuscript of a historical novel based on real events in the seventeenth century and written in the Romantic vogue of the nineteenth century. Second, it allows me to insert a "translator's preface" explaining how close the book is to what actually happened. And third, it protects me from the reproaches of my colleagues for betraying my profession.
    [Show full text]
  • Disney's the Hunchback of Notre Dame
    DISNEY'S THE HUNCHBACK OF NOTRE DAME Transcribed by Ben Scripps ([email protected]) ([email protected]) NOTE: The following script is Copyright (c) 1996 The Walt Disney Company. The purpose of this transcription is for research and reference purposes only. In no case should this script be sold or charges be made for it. EDITION NOTE: In the following script, any words in capital letters are sung as lyrics in songs. All spoken dialogue (even lines *spoken* within a song) are in normal type. All Latin lyrics from the score have been omitted from this version. (As the Walt Disney Pictures logo fades off the screen, the chorus heard in the background mixes with the bells of Notre Dame cathedral ringing. A long zoom in through the city until we reach the Clopin singing to a group of children watching his puppet show.) Clopin: MORNING IN PARIS, THE CITY AWAKES TO THE BELLS OF NOTRE DAME THE FISHERMAN FISHES, THE BAKERMAN BAKES TO THE BELLS OF NOTRE DAME TO THE BIG BELLS AS LOUD AS THE THUNDER TO THE LITTLE BELLS SOFT AS A PSALM AND SOME SAY THE SOUL OF THE CITY'S THE TOLL OF THE BELLS THE BELLS OF NOTRE DAME Listen, they're beautiful, no? So many colours of sounds, so many changing moods. Because, you know, they don't ring all by themselves. Puppet: They don't?!? Clopin: No, silly boy. Up there, high, high in the dark bell tower, lives the mysterious bell ringer. Who is this creature? Puppet: Who? Clopin: What is he? Puppet: What? Clopin: How did he come to be there? Puppet: How? Clopin: Hush! HTTP://COPIONI.CORRIERESPETTACOLO.IT Puppet: Ohhh..
    [Show full text]
  • Clopin Trouillefou
    SOCIAL STORY GOING TO COMMUNITY PLAYERS Welcome to Community Players! We look forward to having you as our guest! COMMUNITY PLAYERS THEATRE I am going to Community Players to see a show. GOING TO THE THEATRE If I drive or ride in a car to the theatre, I will park on the street in front of the theatre or in the parking lot across the street. LOBBY When I enter the building, I will be in the lobby. At the front desk someone will be there to greet me and help me get my tickets. SNACKS AND DRINKS If I get hungry or thirsty, I can visit the concession stand for popcorn, cookies, candy, and Coke products. If I just want a drink of water, I can use the drinking fountain by Concessions stand Drinking fountain the merchandise stand. BATHROOMS There are bathrooms in the lobby down the hallway. I can use the bathroom at any time during the performance SEATS When I’m ready, I can find my seat inside the theatre. If I need help finding a seat, I can ask an usher. THE STAGE The play will happen on the stage. Only people who work at the theatre are allowed on the stage. If I need to leave the theatre, I can go out the same way I entered but I should walk slowly. LIGHTS AND SOUNDS There may be different colored lights and the lights might flash during the play. There might be music and sounds that could sometimes be loud. I can always leave if I feel uncomfortable.
    [Show full text]
  • Audition Pack
    AUDITION PACK Please read all instructions carefully 1 ABOUT ‘HUNCHBACK’ What makes a monster and what makes a man? This is the central theme of The Hunchback of Notre Dame, a sweeping, grand-scale musical from Disney Theatrical. Based on the 1996 Disney film and Victor Hugo’s 1831 novel, The Hunchback of Notre Dame tells the story of Quasimodo, the hunchbacked bell-ringer of Notre Dame, and his desire to one day be a part of the outside world. When he summons the courage to attend the Feast of Fools, he meets Esmeralda, a compassionate gypsy who protects him from an angry mob. But at the same time, Quasimodo’s master, the archdeacon Dom Claude Frollo, and the new captain of the guard, Phoebus de Martin, fall in love with the beautiful girl. Adding to Quasimodo’s struggle is his punishment and derision from Frollo, following years of psychological abuse, and the danger posed by the gypsies, who are willing to kill any outsiders who venture into their secret hideout. But before Paris is burned to the ground, will Quasimodo be able to save Esmeralda from Frollo’s lust and anger? Will she return Quasimodo’s affection? Who is the true monster of Notre Dame? BOOK Peter Parnell MUSIC Alan Menken LYRICS Stephen Schwartz BASED ON THE PLAY/BOOK/FILM The Hunchback Of Notre Dame By Victor Hugo FIRST PRODUCED 2014 TIME & PLACE Paris, 1482 Directed and Produced by: Mr Huntington Assistant Director: Alex Moxon Choreography: Miss Hobbs Musical Director: Graham Brown Assistant MD: Mr Porter-Thaw Choir MD: Mr North Pianist: Melody Day Costumes/Props:
    [Show full text]
  • Neocolonialism in Disney's Renaissance
    Neocolonialism in Disney’s Renaissance: Analyzing Portrayals of Race and Gender in Pocahontas, The Hunchback of Notre Dame, and Atlantis: The Lost Empire by Breanne Johnson A THESIS submitted to Oregon State University Honors College in partial fulfillment of the requirements for the degree of Honors Baccalaureate of Science in Public Health: Health Promotion/Health Behavior (Honors Scholar) Honors Baccalaureate of Science in Sustainability (Honors Scholar) Presented June 7, 2019 Commencement June 2019 AN ABSTRACT OF THE THESIS OF Breanne Johnson for the degree of Honors Baccalaureate of Science in Public Health: Health Promotion/Health Behavior and Honors Baccalaureate of Science in Sustainability presented on June 7, 2019. Title: Neocolonialism in Disney’s Renaissance: Analyzing Portrayals of Race and Gender in Pocahontas, The Hunchback of Notre Dame, and Atlantis: The Lost Empire. Abstract approved:_____________________________________________________ Elizabeth Sheehan The Walt Disney Company is one of the most recognizable and pervasive sources of children’s entertainment worldwide and has carefully crafted an image of childhood innocence. This wholesome image is contradicted by Disney’s consistent use of racist and sexist tropes, as well as its record of covertly using political themes in its media. Disney has a history of using its animated films to further a neocolonial ideology – an ideology that describes how current global superpowers continue to control the natural and capital resources of underdeveloped countries and to profit off of the unequal trading of these resources. The period of Disney’s history known as its animated Renaissance marked a clear return to the brand’s championing of American interventionism abroad.
    [Show full text]
  • La Esmeralda
    Victor Hugo La Esmeralda − Collection Théâtre − Retrouvez cette oeuvre et beaucoup d'autres sur http://www.inlibroveritas.net Livros Grátis http://www.livrosgratis.com.br Milhares de livros grátis para download. Table des matières La Esmeralda..............................................................................................1 LIBRETTO..........................................................................................2 PERSONNAGES.................................................................................4 ACTE PREMIER................................................................................5 SCENE PREMIERE............................................................................6 SCÈNE II...........................................................................................12 SCENE III..........................................................................................17 ACTE DEUXIÈME − SCENE PREMIERE.....................................22 SCENE II...........................................................................................24 SCENE III..........................................................................................28 SCÈNE IV.........................................................................................31 ACTE TROISIÈME − SCÈNE PREMIERE.....................................35 SCÈNE II...........................................................................................39 SCÈNE III..........................................................................................42
    [Show full text]
  • Auditions Information for the Arlington Players Presents​ the Hunchback
    Auditions information for The Arlington Players Presents The Hunchback of Notre Dame ​ ALL ROLES ARE AVAILABLE: The Arlington Players is excited to announce auditions for The Hunchback of Notre Dame. ​ There are 5 principal acting roles, 3 males, 1 female, and 1 that could be any gender. The production will also feature an acting ensemble of 10-15 consisting of at least 5 males and 5 females who will play over 40 supporting and cameo roles including Gypsies, gargoyles, soldiers, and citizens of Paris. Finally, there is also a choral ensemble of 16-20 singers. See descriptions below for more information about principal and ensemble roles. Actors of any ethnicity or gender are encouraged to audition. Please prepare a 16-32 bars of a song in the style of the show that both shows off your voice and also your acting abilities. Please do not sing a song from Hunchback. ​ ​ Be prepared for a brief dance audition -- dress in comfortable clothing and footwear that you can move in safely. While adapted from the beloved Disney film, please be aware the show is a darker and more mature version, closer to Victor Hugo’s novel. If you are unfamiliar with the vocal range designations, see this chart to assist you - tinyurl.com/vocalrange123 ​ ​ ​ If you have any questions please email the TAP’s Executive Producer at [email protected] CASTING BREAKDOWN (in order of appearance): Claude Frollo Archdeacon of Notre Dame Cathedral, Frollo is pious and holier than thou. A strong and imposing presence, he is the reluctant caretaker of Quasimodo.
    [Show full text]
  • Disability Stigma: Re-Presenting „Disability‟ As a Form of „Identity‟ in Victor Hugo‟S the Hunchback of Notre- Dame
    International Journal of Recent Technology and Engineering (IJRTE) ISSN: 2277-3878, Volume-8, Issue-4, November 2019 Traversing Disability Stigma: Re-presenting „Disability‟ as a form of „Identity‟ in Victor Hugo‟s The Hunchback of Notre- Dame Anjana R B, Beena S Nair defines Disability as “a complex phenomenon reflecting an Abstract: “Disability is a matter of perception. If you can do one interaction between features of a person‟s body and features thing well, you are needed by someone” – Martina Navratilova. of the society in which he or she lives.” In simple terms, Though Disability Studies focused on the distinction between disability is nothing but a lack of ability or weakness. „impairment‟ and „disability‟ defining Disability as a social Disability studies is an academic discipline that focuses on the construct, we still perceive Disability as something abnormal, drifting from the normality, an impairment to human mind or meaning, nature and consequence of disability. Disability body. This paper reflects on how Quasimodo, attains an Identity studies earlier focused on distinguishing between impairment in the society with his disability of hunchback and deafness in and disability. It analyses disability as a social construct. It not Victor Hugo‟s The Hunchback of Notre - Dame. He was crowned only analyses the history and theory of it, but also stresses on as the “Pope of Fools” for being the ugliest person in Paris. live experiences. It teaches to focus on the lived experience of Though the identity he gained had a negative connotation, it was individuals with disabilities in practical terms. The main his disability that made him known among the people.
    [Show full text]
  • To Purchase Tickets, Call 706-935-9000 Or Visit Our Website at Colonnadecenter.Org
    THE COLONNADE NEWSLETTER July 2018 264 Catoosa Circle Ringgold, GA 30736 706-935-9000 To purchase tickets, call 706-935-9000 or visit our website at colonnadecenter.org The Colonnade Players with Director James Ogden and Musical songs “The Tavern Song”, “Rhythm of the Tambourine” and Director Terry Sanford will bring The Hunchback of Notre “In a Place of Miracles”. Music is written by Alan Menken Dame to The Colonnade stage in July 2018. The Hunch- with lyrics by Stephen Schwartz. back of Notre Dame, a musical based on the 1831 novel by Victor Hugo and containing songs from the 1996 Walt The story is a tale of three men: Quasimodo, the disfigured, Disney film adaptation, is presented by special arrange- outcast bell-ringer of Notre Dame Cathedral, Phoebus De ment with Music Theatre International (MTI). All authorized Marten, the just-returned-from-the-front handsome soldier, materials are also supplied by MTI. (www. MTIShows.com). and Dom Claude Frollo, the pious archdeacon of Notre Dame who all to varying degrees fall in love with the gypsy The cast includes Alex Walker (Quasimodo), Mary Beth girl Esmeralda. Inner struggles meet outer turmoil in this Torgerson (Esmeralda), Jake Wallin (Phoebus De Martin), tragic story of love and loss. Eric Jackson (Dom Claude Frollo), and Joseph Watts (Clopin Trouillefou). The cast will include an ensemble that Show times are July 13, 14, 20 & 21 at 7:30 pm with mat- takes on various roles throughout the performance and on- inees on July 14 at 1:00 pm and July 22 at 2:30 pm.
    [Show full text]
  • The Hunchback of Notre Dame
    THE HUNCHBACK OF NOTRE DAME by Victor Hugo Translated by Isabel F. Hapgood STYLED BY LIMPIDSOFT Contents PREFACE4 VOLUME I.6 BOOK FIRST................... 7 CHAPTER I. THE GRAND HALL.... 7 CHAPTER II. PIERRE GRINGOIRE... 33 CHAPTER III. MONSIEUR THE CAR- DINAL................ 50 CHAPTER IV. MASTER JACQUES COPPENOLE............ 61 CHAPTER V. QUASIMODO........ 77 CHAPTER VI. ESMERALDA....... 89 BOOK SECOND................. 93 CHAPTER I. FROM CHARYBDIS TO SCYLLA............... 93 2 CONTENTS CHAPTER II. THE PLACE DE GREVE.. 97 CHAPTER III. KISSES FOR BLOWS... 101 CHAPTER IV. THE INCONVE- NIENCES OF FOLLOW- ING A PRETTY WOMAN THROUGH THE STREETS IN THE EVENING........... 119 CHAPTER V. RESULT OF THE DAN- GERS................. 126 CHAPTER VI. THE BROKEN JUG.... 130 CHAPTER VII. A BRIDAL NIGHT.... 163 BOOK THIRD................... 181 CHAPTER I. NOTRE-DAME....... 181 CHAPTER II. A BIRD’S-EYE VIEW OF PARIS................. 195 BOOK FOURTH................. 238 CHAPTER I. GOOD SOULS........ 238 CHAPTER II. CLAUDE FROLLO..... 244 CHAPTER III. IMMANIS PECORIS CUSTOS, IMMANIOR IPSE.... 253 CHAPTER IV. THE DOG AND HIS MASTER............... 266 3 CONTENTS CHAPTER V. MORE ABOUT CLAUDE FROLLO......... 268 CHAPTER VI. UNPOPULARITY..... 279 BOOK FIFTH................... 281 CHAPTER I. ABBAS BEATI MARTINI.. 281 CHAPTER II. THIS WILL KILL THAT.. 299 BOOK SIXTH................... 326 CHAPTER I. AN IMPARTIAL GLANCE AT THE ANCIENT MAGISTRACY........... 326 CHAPTER II. THE RAT-HOLE...... 345 CHAPTER III. HISTORY OF A LEAV- ENED CAKE OF MAIZE..... 352 CHAPTER IV. A TEAR FOR A DROP OF WATER.............. 388 CHAPTER V. END OF THE STORY OF THE CAKE.............. 405 VOLUME II. 407 BOOK SEVENTH................. 408 CHAPTER I. THE DANGER OF CON- FIDING ONE’S SECRET TO A GOAT................
    [Show full text]