Director's Note
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When I was 11 years old, I went through a bit of culture shock. I moved from Nashville, TN, to Sparta, NJ. I was a polite Southern boy thrown into the deep end of hard-nosed New England right at the beginning of junior high school. Needless to say, I was picked on, ridiculed, and outcast. That year, Disney released its newest animated feature, The Hunchback of Notre Dame. Never had a story moved me so deeply or spoken to me when I needed it most. Very soon after, I took a trip to Disneyland, where they were performing a new stage adaptation of the show. I was mesmerized. Seeing that production was one of those pivotal moments that helped define my passion and love for theatre. Since then, I waited with bated breath for Disney to release this show as a stage adaptation to the world, and when they did, the 11-year-old in me could not wait to be a part of telling this story. Although this version brings in some fascinating elements from Victor Hugo’s novel that the Disney film glosses over, its themes and messages still ring out powerfully—much like the Bells of Notre Dame themselves—thanks to the incredibly deep and moving music of Menken and Schwartz. The layers of this piece are endless, from the study of human history, religious and Latin meaning, to Victor Hugo’s intent and literature, to the incredible melding of musical theatre and choral music that helps tell this story. Victor Hugo’s original objective for this story was to draw people back to the wonderful legacy, history, and architecture of Paris. He noticed Notre-Dame de Paris falling into disrepair and saw that citizens were losing interest in and care for its great purpose as the heart of the city. Notre-Dame witnessed many moments of human conflict, often standing at the very center of them. Our story begins in the aftermath of the great conflict that unfolded in 1482, stemming from racism, religious persecution, purism, mob mentality, and overall inhumane behavior. Since then, the cathedral has endured destruction through revolutions and world wars, including the recent fire in 2019. Yet humanity has continued to find sanctuary, faith, and hope within its walls—even in ruin—reminding us to believe in something greater than ourselves. The lyric asks, “What makes a monster and what makes a man?” This is the question our beloved writers want us to ponder as we watch the events unfold for our leading characters. One of my favorite moments from the Disney film is at the end, when Quasimodo enters the square and society is hesitant and fearful to let him in. But one little girl leaves her nervous parent, walks up to Quasimodo, touches his deformed face, and holds him. To me, this is the answer to that question. We see the parallel between how Quasimodo views the world—innocent and unmarred, full of light and goodness—versus how Frollo sees it: deformed, ugly, evil, and full of malicious intent. A perfect example of this contrast is the juxtaposition of Quasimodo’s “Heaven’s Light” and Frollo’s “Hellfire,” as both characters express their views on love. Quasimodo sees the world much like a child. In my life as an educator and father, I am continually inspired by children and youth and their ability to teach me. Children don’t see ulterior motives tainted by years of disappointment or unmet expectations. They see the world as a wonder, full of people deserving of love and affection. Another lyric states, “I thought we all were the children of God.” Children. Brothers and sisters. Family. In the end, we can answer the question “What makes a monster and what makes a man?” by choosing to see our fellow human beings not as “monsters,” or “deformities,” but as a child would see them—as fellow children of God. Find the good. That is my hope and prayer for this production: to remind us not to focus on faults, evil, or disappointment in the world and in others, but to see the light, search for joy, and find the good by doing good. I hope this story and its music can bring the same light into your life that it has brought into mine. Thank you—and let’s make “Someday” come right now. 
-David P Smith, Director |
The Language and Historical Context of The Hunchback of Notre Dame |
| The musical adaptation of The Hunchback of Notre Dame is inspired by the 1831 novel by Victor Hugo, who sought to illuminate the humanity of those pushed to society’s margins and to question the hierarchies of his time. Set in 15th-century Paris, the story reflects the prejudices and power structures woven into that era. In this production, audiences will hear the term “gypsy,” historically used to describe the Romani people. Today, the word is widely recognized as a derogatory slur rooted in centuries of discrimination. We have chosen to retain the language of the script because it reflects historical realities essential to the story’s themes. The characters’ use of this word is not an endorsement of it; rather, it reveals the injustice and exclusion at the heart of the narrative. Hugo’s work and this musical adaptation of it invite us to consider who is welcomed and who is pushed aside, and how language can both reflect and reinforce those divisions. By engaging honestly with the world of the past, even when it is uncomfortable, we hope to approach this story with care, empathy, and respect. At Hale Centre Theatre, we believe that world-class storytelling has the power to enrich lives by deepening our understanding, broadening our perspectives, and cultivating compassion. It is our hope that this production honors the dignity of all people and invites thoughtful reflection beyond the stage. |
