Someone looking for cohesion in a musical will be disappointed. The action may be because of wanting to push despite the current plot developments. The end of Act I in which Frollo, a looming shadow, delivers a jab into the frame Esmeralda is done with little accumulating and scores that fail to dampen the suspense. When Quasimodo liberated Esmeralda and the prisoners, it somehow felt like an accident and not the outgrowth of his courage and solidarity with the marginalized oppressed as predicted. determined.
But the climax is “Les Cloches.” When Quasimodo rang the bell like his companions, the acrobats swayed like the pendulum of a bell. It’s the show’s most poetic combination of spectacle and character. It’s Quasimodo’s only aria—and all of his arias are gorgeous but overwhelmed with self-pity and romance—that gets us caught up in his alienation and introspection.
There seems to be little incentive to modify the worst and the best in its staging. I suspect the reason the 24-year-old musical won this heart was paralleled by the commercial success of the English-language musical “Les Miserables,” which shares the same line of adaptations as works by Victor Hugo. . Whether their respective themes fit in resonance is up for debate, but both deliver musical numbers filled with melancholy but fallen hope. The most moral of the oppressed players never seem to extinguish the candle of hope, even in the face of loss. When a dying Clopin meets Esmeralda for the last time, it is fleeting that “Notre-Dame de Paris” shines through its humanity. To forgive its faults requires grace because the musical accepts itself as an emotional experience.
“Notre-Dame de Paris” ended its run in New York City. The original 1998 version of “Notre-Dame de Paris” can be found on DVD.
https://www.slashfilm.com/946215/notre-dame-de-paris-review-this-french-musical-goes-hard-on-showy-spectacle/ This French musical makes it difficult on a colorful setting