TABLE OF CONTENTS he Hunchback of Notre Dame Production Handbook is here to guide you through all aspects of production: from casting to design to rehearsal exercises and beyond. We at Disney Theatrical TProductions took what we learned from the world premiere productions, as well as various high school pilots, to craft a guidebook for creating your own vision of the show. To help you organize your approach to this material and your staging and rehearsal processes, we have divided this handbook into three sections: • Before You Begin includes information you’ll want to start thinking about before you jump into rehearsals. • In Rehearsal consists of material that will assist you in working with your actors and singers. • Beyond the Stage contains information that will help to craft an engaging and rewarding production for actors and audiences alike (consider referencing this section both before and during your rehearsal process). Incorporate the material in these pages as you see fit, and above all: Enjoy! BEFORE YOU BEGIN Introduction ............................................................................... 1 Page to Stage ............................................................................ 3 Casting ...................................................................................... 9 Design ..................................................................................... 14 IN REHEARSAL Music Direction ........................................................................ 23 Approaches to Character ........................................................ 35 Rehearsal Exercises ................................................................. 48 Staging .................................................................................... 57 BEYOND THE STAGE Contextualizing the “Other” ................................................... 62 Dramaturgy .............................................................................. 76 Audience & Student Engagement .......................................... 82 Resources ................................................................................ 96 Credits ................................................................................... 124 SOMEDAY LIFE WILL BE KINDER LOVE WILL BE BLINDER SOME NEW AFTERNOON GOD SPEED THIS BRIGHT MILLENNIUM HOPE LIVES ON WISH UPON THE MOON LET IT COME ONE DAY… SOMEDAY SOON… — “Someday,” lyrics by Stephen Schwartz INTRODUCTION n the midst of a feature animation renaissance in the early 1990s, the storytellers at Disney Animation set out to break new ground with their next animated feature by turning for inspiration to Victor IHugo’s classic gothic novel, The Hunchback of Notre Dame. The resulting 1996 film produced a glorious score by composer Alan Menken and lyricist Stephen Schwartz that was quickly called to life onstage. An initial production titled Der Glöckner von Notre Dame premiered in 1999 in Berlin, Germany, and enjoyed a successful three-year run, but there was more work to be done on the project before a stage adaptation could be considered definitive. For the next decade, Alan and Stephen, together with Disney Theatrical president and producer Thomas Schumacher and his staff, kept the flame alive, searching for a good idea to pave the way forward. Enter director Scott Schwartz, who proposed a thrilling new intimate stage vision for Quasimodo’s journey into 1482 Paris. Working with Alan, Stephen, and book writer Peter Parnell, Scott and Disney created a new, darker, more adult, and highly theatrical version, inspired by and incorporating original text from the novel and expanding the Disney film’s beloved score. This production premiered at La Jolla Playhouse and Paper Mill Playhouse during the 2014-2015 season, and it was beautifully captured in a 2015 Studio Cast Recording. Showcasing themes such as faith, power, discrimination, isolation, and sacrifice, The Hunchback of Notre Dame offers a powerful message of acceptance that will resonate with each member of your production and audience. Its rich and multifaceted layers – including complex representations of disability, women, and Roma (or “Gypsies,” as they are referred to in the show) – call for ample time with your cast to explore and interrogate the material. Encourage them to participate in the creative process, including, for example, doing historical research on the Roma and their experiences as outsiders. Such an investment will bring with it joy and confidence in their portrayals. Consider spending additional time with your actor playing Quasimodo, a fascinating character dealing with challenges stemming from a non-normative body, hearing loss, and social isolation. Likewise, discussions about the representation of women and Roma with your Esmeralda, Clopin, and other actors will reap benefits in rehearsal and onstage. For resources to help you in your efforts, refer to this guide’s chapters on Approaches to Character, Rehearsal Exercises, and Contextualizing the “Other,” which offer illuminating essays on disability, women, and Roma written by experts in those fields. In this Production Handbook, you’ll find resources that you can draw from as needed; whether The Hunchback of Notre Dame marks your first or 100th production, we hope this guide inspires you to take risks, explore new methods of storytelling, and empower your cast to discuss and explore the rich mosaic of characters and themes it provides. As the Congregation sings in the show’s finale, “Someday / Life will be kinder / Love will be blinder / Some new afternoon.” We hope your production of The Hunchback of Notre Dame brings your cast and community a little bit closer to that day. Break a leg! 1 Introduction Optional Alterations Given that this musical was created for adult performers and audiences, these alternatives to explicit content are approved for high school productions without the need to consult with your licensing representative at Music Theatre International (MTI): • p.4 – CUT FLORIKA: “I can see you want to. I can see it in your eyes. Oh – I can feel it too!” • p.32 – CUT REVELER: “Gypsy whore!” • p.59 – ALT CONGREGANT: “But the madam said no / And she swore by the holiest saints.” • p.77 – CUT GYPSY: “String ‘em up!” and (Nooses descend on PHOEBUS and QUASIMODO.) Similarly, to achieve a wider range of opportunity and representation in this story for your female performers, you may choose to cast a female actor to play Clopin. If you decide to do so, you are permitted to change the character’s gender, including altering the following: • p. 20 – ALT CONGREGANTS: “Queen of the Gypsies” • p. 27 – ALT ESMERALDA: “… at following rules, mademoiselle.” • Any relevant pronouns Any additional requested changes must be submitted in writing and approved by your licensing representative at MTI. 2 The Hunchback of Notre Dame Production Handbook 3 PAGE TO STAGE PRODUCTION HISTORY The path of the stage adaptation of The Hunchback of Notre Dame can be traced back many centuries to 1163 – the year in which construction began on Notre Dame Cathedral. To this day, the cathedral stands situated in the center of Paris as one of the largest church buildings in the world and an architectural marvel. Victor Hugo’s Notre-Dame de Paris In 1829, a young author named Victor Hugo began writing an ode to Notre Dame, constructed centuries earlier. Hugo had a deep appreciation for Gothic architecture, the style that flourished in France between the 12th and 16th centuries and has characteristics such as flying buttresses, vaulted ceilings, gargoyles, and a grand scale. By the early 19th century, a number of Gothic buildings throughout Paris were neglected or torn down and replaced with new buildings. For Hugo, this mistreatment combined with a fascination with forgotten architecture culminated in the writing of Notre-Dame de Paris. Hugo’s project can be seen as a success in many ways. Published in 1831, the main character of the novel is neither Quasimodo nor Esmeralda nor Frollo, but rather Notre Dame itself. The novel thus reinvigorated an interest in Gothic architecture, and a massive restoration project of the cathedral began a few years later. The novel went on to be regarded as one of the great works of Western literature; in 1833, it was published in English under the title The Hunchback of Notre Dame – a title that Hugo himself disliked because it put the focus too much on Quasimodo and his physical differences as opposed to the cathedral. Disney’s Animated The Hunchback of Notre Dame Hugo’s novel has inspired numerous adaptations (for a full list, see pp. 80-81 of this handbook). Perhaps the most well-known of these adaptations is Disney’s 1996 animated film, which began production in 1993, when Walt Disney Feature Animation development executive David Stainton was looking for material to adapt into an animated musical. The team at Disney Animation felt that it was always important to tackle a new challenge with each film; inspired by the opportunity to adapt a literary masterpiece that is sophisticated and 1996 Disney animated film serious in tone, Disney quickly put the film into Film Still © Disney production with directors Gary Trousdale and Kirk Wise, who had previously directed Beauty and the Beast together. Joining them would be composer Alan Menken, writing music for his sixth Disney animated film, and lyricist Stephen Schwartz who had previously collaborated with Disney and Menken on Pocahontas. After Pocahontas, Schwartz and Menken were offered a choice of a few ideas for their