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Hunchback of Notre Dame Libretto

The document is a libretto for 'The Hunchback of Notre Dame,' featuring music by Alan Menken, lyrics by Stephen Schwartz, and a book by Peter Parnell, based on Victor Hugo's novel and Disney film. It includes copyright information, character lists, and a detailed outline of scenes and musical numbers for the production. The document emphasizes the importance of adhering to copyright laws and returning the rented materials to the Music Theatre International library.

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100% found this document useful (1 vote)
209 views109 pages

Hunchback of Notre Dame Libretto

The document is a libretto for 'The Hunchback of Notre Dame,' featuring music by Alan Menken, lyrics by Stephen Schwartz, and a book by Peter Parnell, based on Victor Hugo's novel and Disney film. It includes copyright information, character lists, and a detailed outline of scenes and musical numbers for the production. The document emphasizes the importance of adhering to copyright laws and returning the rented materials to the Music Theatre International library.

Uploaded by

jacksonwright
Copyright
© All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd

LIBRETTO VOCAL BOOк

THE HUNCHBACK
OF NOTRE DAME
Music by
Alan Menken

Lyrics by
Stephen Schwartz

Book by
Peter Parnell

Based on the Victor Hugo novel and songs from the Disney film

NOTICE DO NOT DEFACE

Should you find it necessary to mark cues or cuts, use a soft black lead pencil only.

NOT FOR SALE

This book is rented for the period specified in your contract. It remains the property of:

PLEASE RETURN ALL MATERIALS TO:

MTI MUSIC LIBRARY

M
MUSIC THEATRE INTERNATIONAL
31A INDUSTRIAL PARK ROAD

NEW HARTFORD, CT 06057


421 West 54th Street
New York. NY 10016

(212) 541-4684

Disney
In accordance with the terms and conditions specified in your performance license.
all music, lyrics and dialogue contained herein are the property of the Authors and

are fully protected by copyright.

You are permitted to make any changes to the music, lyrics or dialogue of the
not

Play, including the interpolation of new material and/or the exclusion of existing
material. Any changes shall constitute a willful infringement of said copyright and
will subject you to all the criminal penalties and civil liabilities under the United
States Copyright Act.

This book may not be duplicated and must be returned at the conclusion of your
production. This Play is the property of its Authors. Remember, you have rented
these materials and been granted a performance license. You may not duplicate any
portion of these materials, disseminate them in any way, in whole or in part,

including electronic or digital transmission and posting on the Internet, or use

them for performances other than those specified in your license agreement.

Federal Copyright Law specifically prohibits the public performance of the enclosed
material without a performance license. MTI's delivery of the enclosed material
does not authorize you or your group to perform the enclosed show(s) in any
manner whatsoever. For example, it does not matter whether your audience pays
for their tickets or not; it does not matter if your group is a school or not. The law
requires you to obtain a license prior to performing the enclosed material.

For further information regarding the severity of the punishments for willful
infringement of copyright, please visit [Link].

MusIC THEATRE INTERNATIONAL


421 West 54th Street

New York NY 10019

MTI
MUSIC THEATRE INTERNATIONAL
(212) 541-4684
[Link]
THE HUNCHBACK OF NOTRE DAME

se, Character List

nd (in order of appearance)

DOM CLAUDE FROLLO, Archdeacon of Notre Dame Cathedral


he
JEHAN FROLLO, Claude's reckless younger brother
18
id 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


d
PHOEBUS DE MARTIN, Captain of the Cathedral Guard
y
FREDERIC CHARLUS, Lieutenant of the Cathedral Guard
t

e 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

1 MADAME, owner of a brothel and safe haven for Gypsies


7
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) FROLLO, JEHAN,
CONGREGATION, CHOIR .... 2
(#2B) The Bells of Notre Dame (Part 3). JEHAN, CONGREGATION, CHOIR ..... 4
(#2C) The Bells of Notre Dame (Part 4) FATHER DUPIN, FROLLO,
CONGREGATION, CHOIR 5
(#2D) The Bells of Notre Dame (Part 5) FROLLO, CONG
REGATION, CHOIR 7
(#2E) The Bells of Notre Dame (Part 6) CONGREGA TION, CHOIR 9
1. BELL TOWER
11
(#2F) Fanfare
14
(#3) Sanctuary FROLLO, QUASIMODO ...... 15
(#4) Out There
.QUASIMODO .... 17
2. TOWN SQUARE
19
(#5) Topsy Turvy (Part 1). CLOPIN, QUASIMODO, REVEL
ERS, CHOIR .19
(#6) Rest and Recreation PHOEBUS, FROLLO, CLOPIN, REVELERS,
SOLDIERS, CHOIR .... 21
(#7) Rhythm of the Tambourine ESMERALDA, PHOEBUS, FROLLO,
QUASIMODO, CLOPIN 26
(#8) Topsy Turvy (Part 2) CLOPIN, ESMERALDA, REVELERS, CHOIR .... 27
(#8A) The Harrowing
30
(#9) Sanctuary II FROLLO, QUASIMODO 33
3. INSIDE THE CATHEDRAL
35
(#9A) The Bells of Notre Dame (Reprise) ESMERALDA,
PARISHIONERS, CHOIR 35
(#10) God Help the Outcasts ESMERALDA, PARISHIONERS, CHOIR......36
(#11) Transition to the Bell Tower STATUES, GARGOYLES 39
4. BELL TOWER
41
(#11 cont'd) Transition to the Bell Tower STATUES, GARGOYLES ......41
(#12) Top of the World ESMERALDA, QUASIMODO,
STATUES, GARGOYLES ..... 42
(#12A) How Dare You
47
5. TAVERN
49
(#13) Tavern Song (Thai Mol Piyas)....GYPSIES, ESMERALDA, FROLLO 49
6. BELL TOWER
53
(#14) Heaven's Light
QUASIMODO.53
- ii -
55
LLS
7. PRAYER STA
re FROLLO, PRIESTS, CHOIR 55
(#15) Hellfi
57
8. THE KING'S COURT
1
58
...1 9. STREETS OF PARIS/ OUTSIDE A BROTHEL/BELL TOWER
rt 1) COMPANY ......58
..1
(#16) Esmeralda (Act I Finale -Pa
-Part 2) COMPANY .61
(#16A) Esmeralda (Act I Finale
2
ACT TWO
4 CHOIR 65
(#17) Entr'acte
.....

66
1. BELL TOWER
5 CHOIR ...... 66
(#17A) Agnus Dei
(#18) Flight into Egypt QUASIMODO,
7 SAINT APHRODISIUS,
9 STATUES, GARGOYLES, CHOIR 68
11 (#18A) Esmeralda (Reprise) FROLLO, CONGREGATION ..... 72
..14
(#19) Rest and Recreation (Reprise) PHOEBUS ....74
..15 2. STREETS OF PARIS 75
..17 (#19 cont'd) Rest and Recreation (Reprise) QUASIMODO ......75
..19 (#20) The Court of Miracles CLOPIN, GYPSIES 75
. 19 3. COURT OF MIRACLES 77

(#20 cont d) The Court of Miracles CLOPIN, GYPSIES 77


21 (#21) In a Place of Miracles... PHOEBUS, ESMERALDA, QUASIMODO,
CLOPIN, GYPSIES, CHOIR 80
26 (#22) The Bells of Notre Dame (Reprise II) CONGREGATION, CHOIR 83

.27 4. PRISON 84
..30 (#22 cont'd) The Bells of Notre Dame (Reprise II) CONGREGATION, CHOIR......84
..33 (#23) The Assault FROLLoI 85
..35 (#24) Someday ESMERALDA, PHOEBUS ......88
5. BELL TOWER 90
..35 (#24A) While the City Slumbered CONGREGATION, CHOIR .90
..36 (#25) Made of Stone QUASIMODO, STATUES, GARGOYLES .90
..39 6. TOWN SQUARE/NOTRE DAME 93
41 (#25A) Judex Crederis CHOIR93
41 (#25B) Kyrie Eleison COMPANY ...93
7. BELL TOWER 98
42 (#25C) Top of the World (Reprise) ESMERALDA, CHOIR ......98
47 (#25D) Esmeralda (Frollo Reprise) FROLLO, JEHAN, FLORIKA,
49 CONGREGATION, CHOIR ..... 99
49 (#26) Finale Ultimo QUASIMODO, STATUES, GARGOYLES..... 100
.53 E. TOWN SQUARE / BARE STAGE 102
53 (#26 cont'd) Finale Ultimo COMPANY ...102

- iii -
- iv -
THE HUNCHBACK OF NOTRE DAME -1 -

ACT ONE

PROLOGUE: BARE STAGE

#1-Olim
Congregation, Choir

(The sound of bells ringing. A CONGREGATION of storytellers gathers, intoning a


Latin chant.)

CONGREGATION MEN, CHOIR MEN

OLIM OLIM DEUS ACCELERE

HOC SAECULUM SPLENDIDUM

ACCELERE FIAT VENIRE OLIM

CONGREGATION, CHOIR

OLIM OLIM DEUS ACCELERE

HOC SAECULUM SPLENDIDUM

ACCELERE FIAT VENIRE OLIM...

#2-The Bells of Notre Dame (Part 1) Congregation, Choir

(CONGREGATION, CHOIR)
АН АНАН

АН АНАН

АН АН AH AH AH AH

АН АН АН

АН АНАН

АН АН АН АН АН АН ...

CONGREGANT (CLOPIN)
MORNING IN PARIS, THE CITY AWAKES

TO THE BELLS OF NOTRE DAME

CONGREGANTS

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
-2i THE HUNCHBACK OF NOTRE DAME

CONGREGATION
THE BELLS

CONGREGATION, CHOIR
THE BELLS OF NOTRE DAME...

(The CONGREGATION begins to take on various characters in the story.)


CONGREGANT
CHOIR
On the morning of January 6- AH
CONGREGATION
1482-

CONGREGANTS

The good citizens of Paris gathered at the Cathedral -


AH
To listen to the sermon-

CONGREGANT (FROLLO)
Of Dom Claude Frollo-
CONGREGATION
Archdeacon of Notre Dame-

CONGREGANTS

Before whom the congregation trembled - OH


As he stalked beneath the lofty arches of the church. OH

FROLLO

Congregants. We gather here, in this vast symphony of stone, on the morning of


the
Feast of Fools. Our streets will soon be filled with those unsavory element
s-
criminals, foreigners, and Gypsies-who have infested our city
and are on this one
day free to roam without being subject to arrest. Beware the temptations
of those
less devout than we. We must fight the urge to indulge oursel
ves, for remember, we
are all born sinners...

#2A- The Bells of Notre Dame (Part 2) Frollo, Jehan, Congregation, Choir

CONGREGATION

LONG YEARS AGO, DID THIS STORY BEGIN

IN THIS PLACE CALLED NOTRE DAME

CONGREGANTS
TWO ORPHANED BROTHERS WERE BOTH TAKEN IN

BY THE GRACE OF NOTRE DAME...

CONGREGANT (FROLLO)
CLAUDE THE OLDER, WHO CARED FOR HIS BROTHER

Common questions

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In "The Hunchback of Notre Dame," music and lyrics play a crucial role in revealing the emotional complexities of the characters. Songs like "Out There" express Quasimodo's longing for acceptance and freedom, while "God Help the Outcasts" highlights Esmeralda's empathy and plea for social justice. Frollo’s "Hellfire" delves into his inner turmoil and sinful desires, juxtaposing his religious duties against personal temptations. The musical numbers are crafted to deepen character development and articulate unspoken conflicts, thus enhancing emotional resonance .

Notre Dame Cathedral is not only the central setting but also a symbolic heart of the musical "The Hunchback of Notre Dame." It represents a sanctuary and a place of faith, while also highlighting themes of inner versus outer beauty and judgment. The setting influences the narrative by serving as home to Quasimodo, a place of authority for Frollo, and a site of refuge for Esmeralda. It is where the plot's central conflicts unfold, underscoring the tension between sin and redemption and the moral complexities faced by the characters .

Disability and isolation are central to Quasimodo’s character arc in "The Hunchback of Notre Dame." His physical deformities result in social rejection and a solitary life within the confines of Notre Dame. This isolation is both a source of suffering and a form of protection orchestrated by Frollo. As the story progresses, Quasimodo’s longing for connection and acceptance becomes apparent, driving his interactions with Esmeralda and the outside world. These themes underscore his journey from seclusion towards self-acceptance and societal recognition, highlighting the broader discourse on human dignity and empathy .

The musical "The Hunchback of Notre Dame" merges elements from both Victor Hugo's novel and the Disney film adaptation by maintaining the novel's complex characters and themes, while integrating the well-known songs from the Disney adaptation. This includes a thorough portrayal of Esmeralda, Quasimodo, and Frollo's intricate relationships, alongside musical numbers like "The Bells of Notre Dame" that blend narrative depth with musical expression, thereby preserving the novel's essence while providing the musical appeal of the Disney film .

"The Hunchback of Notre Dame" presents several ethical dilemmas that contribute to its moral undertones, such as Frollo’s conflict between duty and desire, and Quasimodo’s loyalty to Frollo versus his compassion for Esmeralda. These dilemmas challenge characters to navigate complex moral landscapes, revealing themes of redemption, justice, and the human condition. The narrative probes questions about morality versus authority and the righteousness of societal laws, encouraging audiences to contemplate the complexities of right and wrong within the historical and social context of the story .

Claude Frollo, as depicted in "The Hunchback of Notre Dame," embodies themes of contradiction and moral complexity by juxtaposing his religious devotion against his oppressive actions. He is the archdeacon of Notre Dame Cathedral, a position implying high moral standards, yet he expresses a deep-seated disdain for Gypsies and other marginalized groups, labeling them as sinners. This reflects his internal conflict and hypocrisy as he struggles with his desires versus his religious duties, ultimately leading to tragic outcomes for himself and others .

Elements of spectacle in "The Hunchback of Notre Dame"—such as the large-scale musical numbers, vivid costumes, and dynamic use of staging—serve to immerse the audience in the story’s dramatic emotional highs and lows. Such spectacle underlines the story’s grand themes, like the conflict between spectacle and substance, particularly in settings like the Feast of Fools. By engaging the audience visually and aurally, these theatrical elements heighten emotional responses and reinforce the narrative’s exploration of societal norms and individual desires .

The Congregation in "The Hunchback of Notre Dame" serves as a group of storytellers who narrate the musical. They are not static; instead, they fluidly take on various roles throughout the play, such as Gypsies, Gargoyles, and others. This narrative technique allows the ensemble to provide context, transitions, and continuity to the story through song and dialogue, enhancing the audience's understanding of the plot and its themes .

The use of a narrative ensemble in "The Hunchback of Notre Dame" contributes significantly to the pacing and structure by providing fluid transitions and a cohesive narrative thread. The ensemble acts as a Greek chorus, offering context and commentary that aid the progression of the plot without cumbersome scene changes. This continuous narrative flow keeps the audience engaged and helps maintain momentum throughout the play, while allowing for seamless shifts between different settings and moods .

Social injustice in "The Hunchback of Notre Dame" is depicted through the marginalization and persecution of characters such as Esmeralda and the Gypsies. These characters face discrimination and harsh judgment from Parisian society, often embodied by Frollo’s authoritative stance against them. Quasimodo, as a deformed bell-ringer, also experiences social isolation and prejudice. Through these characters, the musical critiques societal hierarchies and the unjust treatment of those deemed 'other,' shedding light on broader themes of empathy and moral fairness .

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