It is seriously impressive that the actor for Phoebus can hold that end note "oh esmeraldaaaaaaaaaa" for as long as he did whilst lying down! Damn I'm such a Phoebus fangirl!!!
Sirenetta 20 You guys should listen to Fredrik Lycke, from the original 1999 Berlin production! That guy belts the melody of that section(with different lyrics meaning “I got to find her”) so powerfully, I’m just wondering where the heck he is now and, personally, I really prefer for his kind of voice for Phoebus over Andrew and Maximilian. m.ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-FGPMgENAmbE.html In fact, here’s his version of Rest and Recreation too! m.ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-qBVRF9PJjh0.html In fact, since he’s now a Broadway actor(for a limited time anyway, thanks to Natasha, Pierre, and The Great Comet of 1812), I’d really like to see Josh Groban’s interpretation of Phoebus! And I’d even die happy hearing him sing “Out of Love” from the 1999 Berlin production, especially with Ben Platt as Quasimodo! ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-Y1lNmo0Kbv8.html
that moment when phoebus, quasi, and frollo sing “and still it all comes down to her and me” in unison is such an underrated moment because all three men are determined to be with esmeralda in the end
I highly doubt that Victor Hugo would have liked this adaptation. This story is nothing like the book. They completely omit the poet character that Esmerelda marries out of pity. Captain Phoebus was an antagonist in the book. He was trying to cheat on his fiance with Esmerelda the whole time, but he lets Esmerelda hang In the end. This story is a wonderful, fun, exciting play. The original novel was a Gothic tragedy.
@@charlessherwood3637 I disagree, because Hugo himself changed the story to reflect more like this story rather than his book when he made the libretto for "La Esmeralda". In "La Esmeralda", Hugo cuts out Pierre Gringoire (The poet you mention), he also changes the ending because Frollo does not die by being thrown off the roof by Quasi, instead it was Phoebus who dies and he dies in Esmeralda's arms, and then she threw herself on his body promising that he'll follow him, in La Esmeralda both Phoebus and Esmeralda were in love with each other. Also Phoebus is not an antagonist in La Esmeralda, only Frollo and even Clopin.
i didn’t realize that was what was happening until frollo’s brother what’s-his-name and his girlfriend are like “and then, *(dramatic pause)* we left.” and i was like, omg they’re the narrators😂😂
The flames grow tall and sharp as fleurs-de-lis! All Paris burns for Esmeralda and still it all comes down to her and me! Feels very awkward after April 15th.
They changed the song for the Papermill Playhouse production. I prefer the use of "God Help the Outcasts" to "In My Life" when Pheobus decides not to burn the house down.
I do miss Quasi's extra verse, if only because I love his voice. The only real difference between this version and the album, besides the dialogue cut for time's sake, is Quasi's Top of the World reprisal verse and the choir and Phoebus singing In My Life instead of God Help The Outcasts.
It's so cool that they end the act 1 finale the same way they did the opening Holding out "Bells of Notre Dame" as Quasi turns to face the audience while hanging onto the rope, while also showcasing what has changed
I hope this comes to Broadway.. I'm so sad that isn't on there now :( i mean this show is so amazingly beautiful from what I've seen on RU-vid!! They would have done this song as well for Tony's if it was on Broadway!
@@antoniocruz115 haha. Pun intended... It's hard to get a show like that on Broadway because it's a 94 person cast and that isn't including the 105 person orchestra in the pit... you gotta pay all those people and the Broadway heads don't wanna do it But maybe SOME investor will get it there.... someday... sooooooooooooooooon
@@brennenfoerst3908 Not exactly that big. This production(both La Jolla and Papermill Playhouses) has a 14 piece orchestra, with a 32 member choir in the background, 16 congregation members(those who do the narrating and other characters on stage), and 5 leads, but yes It is STILL a big and expensive number of people to pay, even without the production crew in mind! They were trying to negotiate giving each cast member half of what they would normally be paid in a show with a lesser number of people, but It wouldn't suffice really. It's the Union who refused to fund for a show with THAT number of people that wasn't guaranteed to be a financial success for Disney's standards, according to the mixed reviews these productions got. That's why Ragtime, which won several Tony Awards despite losing Best New Musical to Lion King that year, sadly close from the financial troubles of EVERYTHING being large and expensive, the 40 plus cast, the big and intricate sets, the 28 member orchestra, the works! Phantom of the Opera, with IT's 40 plus member cast, doesn't count and stays on Broadway since it first opened because of the guaranteed positive attention it brought over from London. The Union DID suggest they decrease the number of choir members, but Lyricist Stephen Schwartz and Composer Alan Menken wouldn't allow it, which is why they turn to licensing the show to community theaters where they would make the most profit. FINALLY, those large 32 member choirs were provided by volunteering groups like SACRA/PROFANA for La Jolla, and volunteering local residents in New Jersey for Papermill, and sadly there's no way this show could find that kind of volunteering on commercial Broadway, they still need to PAY them. In my opinion, they should stick with the 24 member ensemble count that was done with the earlier incarnation of this show, Der Glockner Von Notre Dame, which premiered in Berlin in 1999 and lasted till 2002, making it the longest running show in Berlin Germany. Make them be the congregation AND the choir, rather than regulate one group to do all the heavy work of narrating and playing other roles while the other groups sit and do nothing until needed for choir moments. Plus, the 24 member choir in Der Glockner sounds great on it's own! ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-Jlw5L2QU2i4.html
Sends me chills every time😊! But i think they should sorta add Esmeralda in the center of the stage or on that second floor that's at the back. Because in this song it shows us how much she changed people's lives and how this story starts to have a climax when she came.
Never noticed before that at LaJolla, after "The Devil dwells in Esmeralda", Frollo used to sing "Resist *her* charm", while on the studio recording it's "Resist *his* charm". It's such a small change, but I still wonder why they made it.
The guy playing Frollo dose sound like the late Tony Jay infact they all sound like the characters in the movie makes me want to watch it again love the movie
@@msoupster63 that be William Paul Michals, who also played Father Dupin during Bells of Notre Dame and even understudied for Patrick Page as Frollo too! Of the voices of this Congregation I do actually like(in that they sound the least distractingly "Disney-esque" for the tone of this story, in my eyes/ears), both his and Neal Mayer(who plays Saint Aphrodisius)'s are my most favorite! He's now currently on Broadway playing Detective Starnes in the Revival of Alfred Uhry and Jason Robert Brown's Parade, which is itself directed by Michael Arden(who plays Quasimodo here) himself!
Indeed, that be William Paul Michals, who also played Father Dupin during Bells of Notre Dame and even understudied for Patrick Page as Frollo too! Of the voices of this Congregation I do actually like(in that they sound the least distractingly "Disney-esque" for the tone of this story, in my eyes/ears), both his and Neal Mayer(who plays Saint Aphrodisius)'s are my most favorite! He's now currently on Broadway playing Detective Starnes in the Revival of Alfred Uhry and Jason Robert Brown's Parade, which is itself directed by Michael Arden(who plays Quasimodo here) himself!
Yes the cast for La Jolla/Papermill are the ones who recorded the album. This is the La Jolla production, since they changed certain lines around for Papermill and the album.
rachel squire "the wicked shall not go unpunished" is Proverbs 11:21, "the heart of the wicked is of little worth" is Proverbs 10:20, although I have yet to see a translation that has those exact phrasings for both. I think 10:20 is the NIV translation and 11:21 is the NKJV translation?
Yes, whenever flames are used on stage there is someone offstage with a fire extinguisher, and these ones seemed to have been essentially a very large lighter-they turn on and off with a switch.
God, the Berlin version is SO MUCH BETTER!!! Why can’t Disney just let them produce it as rich and dark as it’s supposed to be? The movie was not as good as it could’ve been, and so far neither has been any production of the musical in the United States. Just like Disney to continually ruin something that has the potential to be a historic masterpiece.
I am very surprised by your opinion and disagree very strongly with it, but you certainly have the right to it. I agree that the gargoyles were annoying in the movie and took away from it, but they changed them for the Berlin version in a way that I liked. They made it quite clear that they only come to life in Quasimodo‘s imagination, and a lot of their dialogue in the Berlin version is less campy. The solution to the gargoyles was not necessarily to just take them out completely; they could be changed to work better, and I like the way they changed them for the Berlin version. I don’t see what’s wrong with Clopin being exactly the kind of gypsy leader that there was and always has been in Europe for centuries. They operated like a business, and it’s both accurate and effective to show the comradely among the gypsies in a way you don’t see as much in the current American version. As for looking and sounding terrible, that is just your opinion, and I couldn’t disagree more strongly. The Quasimodo in the Berlin version is a much better singer; the way he sings “Made of Stone” (“Aus Stein”) is unbelievable, and the guy in the current American version doesn’t even have the high D-natural at the end. The Berlin version is also better musically, in my opinion - it uses motifs from songs like “Esmeralda” so much more effectively. They also cut the song “Out of Love” (“Weil du liebst”) from the American version and replaced it with “In a place of Miracles”, which I think is much weaker and more ineffective as a song. I think Frollo is a much scarier scarier and more effective villain as a judge, too. Yes, I know making him the Archdeacon is true to the book, but I just think he’s a better villain the other way. Maybe the lighter, the warmer feeling traditionally associated with Disney is more to your taste, but I like it much richer and darker like it is in the Berlin version and in the movie. Some works are better light, but some are meant to be dark. That’s just the spirit of Victor Hugo. Darker is more popular in Europe. I don’t know if you’ve ever listened to an opera before, but they can be much darker than musical theater, and I like it much better that way. As I said, you’re entitled to your opinion, but I definitely don’t agree with you.
Phoebus is using his real voice. He has stage enunciation which sounds weird when you aren’t used to it, but having met him twice and seen him in two different shows, I can assure you his accent is not fake.
