Recently, I went to go see a production of the 2014 musical The Hunchback of Notre Dame at Lincoln Way East. The show itself was composed by Alan Menken (Hairspray) with lyrics by Stephen Schwartz (Wicked, Pippin) and book by Peter Parnell, though it is originally based of Victor Hugo’s novel with the same title. Now, I’ve seen a good handful of musicals as well as having been in a few, but as far as production quality goes, this takes the cake. Starting as a tour of the Notre Dame de Paris, the story transforms around a tour-guide’s recollection of the Disney-popularized story of Quasimodo, the bastard nephew of Dom Claude Frollo. When Quasimodo ventures outside of the cathedral’s sanctuary and attends the Feast of Fools, he becomes acquainted …show more content…
Together, the lights and music gave an almost sweeping feeling to the show, the kind that keeps the audience on its toes and the edge of their seats. The music itself is much more classical than the usual pop-rock/contemporary musical more commonly seen today, which dually fits the cathedral-like chamber singing to be expected but also conveys the mood in each song. The point of musicals, generally speaking anyways, is to use music during the highest points of emotional tension, and the score for this show is more stoic in group numbers and touching in solos. The lyrics themselves in group numbers are used in a way that narrates and provides dramatic irony while displaying character motivations. However what makes the music memorable and moreover lovable is the repetition at pivotal moments of the same tune, but in a different key; this transforms the tone to fit the plot. However, song is not the only way to transform the mood of a scene. It can be, and was, cleverly done with lighting. In this particular production of Hunchback, there was some obvious color symbolism in the lighting scheme. Take for instance, the darker red lighting during “Hellfire,” Frollo’s song about burning Esmeralda if she decides not to be with him. Red itself is a very expressive color that represents both passion and love, but danger and violence. Both contexts …show more content…
Now, the costumes in this production reminded me very much of the ones we used during Beauty and the Beast, and rightfully so considering they would have both happened in similar time periods and geographical regions. Both were fairly neutral for the ensemble with the exception of gypsies. The gypsies had more bright and colorful costumes with blacks, pinks, purples, reds, etc. For the most part, the costumes suited the setting and characters. There were also several cloaks used throughout the show with really pushed the motif of of hiding, as Frollo hides his true plan for Esmeralda and Quasimodo hides from the public as to not be noticed in “Topsy Turvy.” The costumes themselves were well constructed and there were very little instances you could tell a costume was rented, or appeared higher quality than another. However, I will say I wasn’t a fan of the gargoyles’ shawls but of course those were used so that they could transition to fit in company number
Clothing that is worn by the actors during the play can be a reflection of the characters personalities. Nick, Lucy, Lewis and Julie all seem to be in normal clothing, reflecting the fact they are relatively normal, and don’t show signs of extreme ‘Madness.’ Ruth wears simple, old, and neat clothes that reflect her OCD, and the colours and patterns that Roy wears reflect his crazy and upbeat personality. Meanwhile, Henry wears business-like outfits that you would expect to see a lawyer wear. This helps to inf...
The lighting along with the music becomes dim and depressing when Doris reminisces because they also need to reflect her mood. There is also a great use of blackouts in the play. The blackouts represent a
If you don't think this is romantic, consider that Jonathan Larson's sensational musical is inspired by Puccini's opera "La Boheme," in which the lovers Mimi and Rodolfo are tragically separated by her death from tuberculosis. Different age, different plague. Larson has updated Puccini's end-of-19th-century Left Bank bohemians to end-of-20th-century struggling artists in New York's East Village. His rousing, moving, scathingly funny show, performed by a cast of youthful unknowns with explosive talent and staggering energy, has brought a shocking jolt of creative juice to Broadway.
Disney’s The Hunchback of Notre Damn is an animated film based upon Victor Hugo’s novel of the same name. The main characters Quasimodo, the hunchback who lives in the bell tower of Notre Damn, Esmeralda, the gypsie girl, Claude Frollo, the cruel Archdeacon of Notre Damn, and Captain Phoebus, the antagonist who defies Frollos’ orders, are all representative of the social classes and turmoil that occurred throughout the early 19th century in France. The original novel was written during the July 1830 Revolution, with strong influences from Hugo’s personal beliefs in social and political equality for all people as well as his opposition to the monarchy that begun after Napoleon Bonaparte’s defeat at Waterloo. This film is accurate in the sense that it shows the class struggle of the time in a way that both honors the novel and its historical context but is also appropriate for its younger
Ever heard of a story that sings of the “Angel of Music” and the “Phantom of the Opera”? A tale that once you have listened to the sweet melody that you will realized that you've pasted the “Point of No Return”? This love triangle has captivated multitudes ever since the 1910 original Phantom of the Opera was published in France by Monsieur Leroux, although most story lovers recall the musical of the same name by Andrew Lloyd Webber or the motion picture adaption. Although this story has been entertaining people for over a century, in this new era have prerecorded voices and movements begun to overshadow the talented performers of live theater? Although “The lavish screen adaptation of Andrew Lloyd Webber's Phantom of the Opera (2005) only deepened the damage” of the dislike of musicals made into film “with non-stars in the leads and an unimaginative production,”(Musical),which version, the live performance or the film, makes the story more attractive? To answer these questions, permit this essay to analyze two methods of storytelling: 2011 live performance Andrew Lloyd Webber's The Phantom of the Opera at the Royal Albert Hall and the 2005 film, and decide if music and story lovers everywhere have too “turned from true beauty”.
The costumes in Shrek The Musical were the cherry on top of an already well produced play. Shrek and Fiona looked like actual ogres and looked very realistic with the green face and body paint. From head to toe, Shrek looked like a real life ogre. His clothing topped of him ogre like look and made him look very far from human. Similarly, when Fiona turned into an ogre she envisioned an ogre from head to toe. Donkey’s costume was also very realistic. He looked very similar to Donkey in the movie and his ears brought the whole costume to life. Lord Farquaad’s costume was the most interesting in my personal opinion. His costume was made very creatively to make him look oddly short. He was left walking on his knees throughout the show and there was a black piece of fabric with short legs on the front to hide his actual legs. His makeup, especially his eyebrows made him look more sassy which fit his character very well. The flashy gems and fabric of his costume made him look like royalty which was very well fitting since he is a king in the play. Another costume that stood out to me was Pinnochio’s. His nose that lengthened when he lied was very creatively made and also very realistic. The body paint on his face and arms made him look like a real life doll and his shoes were a good touch in my opinion to the costume.
may be a dark musical, but its construction lends well to light voices and an equally
The Music Man made interesting use of the technical aspects of theatre. Sound was used appropriately, as music from the monitors did not overpower the voices of the actors. Lights, however, did not leave any sort of impression on me. Hardly any lights were utilized to enhance the mood were present. This caused for less emphasization on spectacle than what would be expected of such a dramatic play. Although, intricate costumes and set made up for the dull lighting techniques.
Another character, on the other hand, wore clothes that were a bit less expensive and attractive, since he was supposed to look like a dork. With this being said, the costumes did not make the actors
Also the songs really present the build up of certain situations on the stage and put a lot of attitude in the specific scene. For example the “ Jet Song” is the first song in the play. This is sung by a jet and it shows how much of a family they are. Another important song that is sung by Tony is “Something is Coming”. Tony sings this song to express his true feelings about the jets and how he has moved on from them. He has a gut feeling that something wonderful is going to take place soon in his life. Tony also sings a song called “Maria” which is about the girl he fell in love with at first sight. Maria sings a song called “ I feel pretty”. She sings this and explains how she is so in love with tony and she describes how nothing will tear her love with him apart. Riff sings a song called “cool” and it express his attitude and how he carries himself in fights, he means well and wants the best for the gang. All of these songs show how music can be a very powerful tool to express feeling and help be in that character 's
For instance, a musical number about a character’s tragic past might include soft, golden lighting, while a scene about dancing in a dance class might include purple lights to show the overall mood of the scene. In addition, the costumes used in the musical added even more life to the musical by providing a visual representation of each character and his or her personality. The costumes allowed the audience to determine the character traits of each character while also deciding the type of homes the characters came from. For instance, one of the characters was dressed in pants and a shirt that would normally be seen worn by an older man or a father. This leads the audience to believe that the character might be an older person who has a family of his own.
Lloyd Webber’s widely regarded masterpiece Phantom Of The Opera uses key motifs and themes throughout the musical to establish its characters and scenes in an effective manner. Throughout the production the motifs, themes and songs all develop to reflect the changes their respective characters undergo. This is particularly evident when analysing The Phantom, his motifs and songs, and how they develop throughout the story.
The costumes helped create a social barrier as well as helped to portray the actors’ age. I thought that costumes were particularly effective in creating the world of the play when we see Poopay change clothes. Throughout the play Poopay changes her clothing about 3 times, which symbolizes a change in her personality. She starts out as a Dominatrix, wearing nothing but an overcoat and lingerie, when she is first seen next to Mr. Reece in his suit and tie you get the feeling that she is a helpless, weak women and he is a powerful man. However, once she meets Ruella she eventually changes clothes into a nicer dress, signifying that this whole experience of going back in time and trying to save someone’s life is changing her personality for the better.
The musical selections and songs that were sung told a story and narrated the almost the entire film, as is expected in...