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** AdaptationalWimp: Relative to the movie, this applies to Frollo, though much of it simply comes from him being less of a card carrying villain. In the ending of the movie, he tries to kill Quasimodo and Esmeralda himself, and the climax is them trying to escape him. The climax of the play however is him struggling to escape as [[spoiler:Quasimodo drags him to the edge of Notre Dame before throwing him off.]] However in the play, Frollo displays no desire to hurt Quasimodo, so he was no doubt taken off guard by Quasimodo's actions.
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** AdaptationalWimp: Relative to the movie, this applies to Frollo, though much of it simply comes from him being less of a card carrying villain. In the ending of the movie, he tries to kill Quasimodo and Esmeralda himself, and the climax is them trying to escape him. The climax of the play however is him struggling to escape as [[spoiler:Quasimodo drags him to the edge of Notre Dame before throwing him off.]] However in the play, Frollo displays no desire to hurt Quasimodo, so he was no doubt taken off guard by Quasimodo's actions. In the 1999 German version, he still tries to stab Quasimodo in the back as in the movie, but only after Quasimodo grabs him in rage first, and all subsequent productions have cut even that.
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* AdaptationalNameChange: In the 1999 Germn version, the gargoyles' names are changed from Hugo, Victor and Laverne to Charles, Antoine and Loni – a ShoutOut to Creator/CharlesLaughton, Creator/AnthonyQuinn and Creator/LonChaney, who played Quasimodo in the novel's three most famous live-action film adaptations.
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* AdaptationalNameChange: In the 1999 Germn German version, the gargoyles' names are changed from Hugo, Victor and Laverne to Charles, Antoine and Loni – a ShoutOut to Creator/CharlesLaughton, Creator/AnthonyQuinn and Creator/LonChaney, who played Quasimodo in the novel's three most famous live-action film adaptations.
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'''The Hunchback of Notre Dame''' (2014) and '''Der Glöckner von Notre Dame''' (1999) are stage musicals based on the [[Disney/TheHunchbackOfNotreDame Disney animated film adaptation]] of the 1831 novel ''Literature/TheHunchbackOfNotreDame'' (by Creator/VictorHugo. The 1999 German-language production was based on a screenplay by James Lapine, and the 2014 English-language production, which debuted at San Diego's La Jolla Playhouse, was based on a book by Peter Parnell. A cast recording has been made, but plans for a Broadway transfer were cancelled. Both musicals backtracked from Disney's take towards the original novel, and are thus DarkerAndEdgier, Parnell's version more so than Lapine's.
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'''The Hunchback of Notre Dame''' (2014) and '''Der Glöckner von Notre Dame''' (1999) are stage musicals based on the [[Disney/TheHunchbackOfNotreDame Disney animated film adaptation]] of the 1831 novel ''Literature/TheHunchbackOfNotreDame'' (by Creator/VictorHugo. The 1999 German-language production was based on featured a screenplay book by James Lapine, and the 2014 English-language production, which debuted at San Diego's La Jolla Playhouse, was based on a featured book by Peter Parnell. A cast recording has been made, but plans for a Broadway transfer were cancelled. Both musicals backtracked from Disney's take towards the original novel, and are thus DarkerAndEdgier, Parnell's version more so than Lapine's.
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* AdaptationalNameChange: In the 1999 Germn version, the gargoyles' names are changed from Hugo, Victor and Laverne to Charles, Antoine and Loni – a ShoutOut to Creator/CharlesLaughton, Creator/AnthonyQuinn and Creator/LonChaney, who played Quasimodo in the novel's three most famous live-action film adaptations.
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* AdaptationNameChange: In the original German production, Victor, Hugo, and Laverne are renamed Charles, Antoine, and Loni.
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* AdaptationNameChange: In the original German production, Victor, Hugo, and Laverne are renamed Charles, Antoine, and Loni. In the Paper Mill production, the gargoyles were stripped away from their individual personalities and simply played by the ensemble.
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** The Hungarian production at the Budapest Operetta Theatre uses only a fraction of the already minimal face paint. Instead the actor straps on a [[https://youtu.be/OBnaXQemxG4 leather headpiece]] that matches his hump...which he wears [[MrFanservice bare chested]]
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** The Hungarian production at the Budapest Operetta Theatre uses only a fraction of the already minimal face paint. Instead the actor straps on a [[https://youtu.be/OBnaXQemxG4 leather headpiece]] that matches his hump...which he wears [[MrFanservice bare chested]]chested]].
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** Unlike the Disney film, [[spoiler:where Esmeralda is SparedByTheAdaptation, here, she dies just like in the novel, succumbing to smoke inhalation shortly after Quasi saves her]].
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** Unlike the Disney film, [[spoiler:where Esmeralda is SparedByTheAdaptation, here, she dies just like in the novel, succumbing novel – although [[DiesDifferentlyInAdaptation instead of being hanged]], she succumbs to smoke inhalation shortly after Quasi saves her]].
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* DiedInYourArmsTonight: [[spoiler: Esmeralda dies in Quasimodo's arms.]]
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* InNameOnly: Although the USA production is still advertised as "Disney's The Hunchback of Notre Dame", the show itself can best be described as an adaptation of the Victor Hugo novel with ''songs'' from the Disney film. It borrows several elements from the book, DownerEnding included, the characters are much closer to their novel counterparts, and as a whole, the show [[DarkerAndEdgier lacks the lighthearted, family-friendly tone of the Disney film]].
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* InNameOnly: Although the USA production is still advertised as "Disney's The Hunchback of Notre Dame", the show itself can best be described as an adaptation of the Victor Hugo novel with ''songs'' from the Disney film. It borrows several elements from the book, DownerEnding included, the characters are much closer to their novel counterparts, and as a whole, the show [[DarkerAndEdgier lacks the lighthearted, family-friendly lighthearted tone of the Disney film]].
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* AdaptedOut: The gargoyles do not appear in the 2014 production. Instead, Quasimodo's "friends" are embodied by the chorus, who act as [[HearingVoices the voices in his head]]. As for comic relief, the show's lighthearted and comedic moments are provided by Phoebus.
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* AdaptedOut: The gargoyles do not appear in the 2014 production. Instead, Quasimodo's "friends" are embodied by the chorus, who act as [[HearingVoices the voices in his head]]. As for comic relief, head]], and the show's lighthearted and comedic moments are provided by Phoebus.
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* ArcWords: Sanctuary. Even more so than the film.
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* ArcWords: Sanctuary. Even "Sanctuary", even more so than the film.
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* AdaptationNameChange: In the German production, Victor, Hugo, and Laverne are renamed Charles, Antoine, and Loni.
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* AdaptationNameChange: In the original German production, Victor, Hugo, and Laverne are renamed Charles, Antoine, and Loni.
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* AdaptationNameChange: Victor, Hugo, and Laverne are renamed Charles, Antoine, and Loni.
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* AdaptationNameChange: In the German production, Victor, Hugo, and Laverne are renamed Charles, Antoine, and Loni.
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!!In addition to the tropes of the [[Literature/TheHunchbackOfNotreDame novel]] and [[Disney/TheHunchbackOfNotreDame Disney film]], the musicals contains examples of the following tropes:
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!!In addition to the tropes of the [[Literature/TheHunchbackOfNotreDame novel]] and [[Disney/TheHunchbackOfNotreDame Disney film]], the musicals contains these stage productions contain examples of the following tropes:
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'''The Hunchback of Notre Dame''' is a 1999 musical based on the [[Disney/TheHunchbackOfNotreDame Disney animated film]] of the same name, itself inspired by [[Literature/TheHunchbackOfNotreDame the 1831 novel]] by Creator/VictorHugo. The musical contains many of the same songs as in the Disney film, but is more faithful to the book, with its plot and characterizations being a combination of the two.
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'''The Hunchback of Notre Dame''' is a 1999 musical (2014) and '''Der Glöckner von Notre Dame''' (1999) are stage musicals based on the [[Disney/TheHunchbackOfNotreDame Disney animated film]] film adaptation]] of the same name, itself inspired by [[Literature/TheHunchbackOfNotreDame the 1831 novel]] by novel ''Literature/TheHunchbackOfNotreDame'' (by Creator/VictorHugo. The musical contains many of 1999 German-language production was based on a screenplay by James Lapine, and the same songs as in 2014 English-language production, which debuted at San Diego's La Jolla Playhouse, was based on a book by Peter Parnell. A cast recording has been made, but plans for a Broadway transfer were cancelled. Both musicals backtracked from Disney's take towards the Disney film, but is original novel, and are thus DarkerAndEdgier, Parnell's version more faithful to the book, with its plot and characterizations being a combination of the two.
so than Lapine's.
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!!In addition to the tropes of the [[Literature/TheHunchbackOfNotreDame novel]] and [[Disney/TheHunchbackOfNotreDame Disney film]], the musical contains examples of the following tropes:
* AdaptationalHeroism: Claude Frollo is much more sympathetic than his Disney counterpart, and his characterisation is closer to that of the novel, especially at the beginning. He spent years looking after his beloved but irresponsible brother Jehan, who was eventually kicked out of Notre Dame and died years later along with his gypsy lover, leaving behind Quasimodo for Frollo to adopt; this backstory gives him a compassionate side and something of a FreudianExcuse for his hatred of gypsies. Most significantly, Frollo's [[MoralEventHorizon two most heinous actions]] from the Disney film are softened:
** Although he does briefly consider killing the baby, he stops of his own accord, unlike his film counterpart who only did so when threatened by the archdeacon. Furthermore, he does ''not'' kill Quasimodo's mother in this version.
** The miller's house that film-Frollo commands Phoebus to burn down is replaced by a brothel. He does not lock anyone inside beforehand, as he does not intend to burn people to death, but simply to deprive them of their livelihood. This is nonetheless still nasty enough to prompt Phoebus to rebel.
* AdaptationalHeroism: Claude Frollo is much more sympathetic than his Disney counterpart, and his characterisation is closer to that of the novel, especially at the beginning. He spent years looking after his beloved but irresponsible brother Jehan, who was eventually kicked out of Notre Dame and died years later along with his gypsy lover, leaving behind Quasimodo for Frollo to adopt; this backstory gives him a compassionate side and something of a FreudianExcuse for his hatred of gypsies. Most significantly, Frollo's [[MoralEventHorizon two most heinous actions]] from the Disney film are softened:
** Although he does briefly consider killing the baby, he stops of his own accord, unlike his film counterpart who only did so when threatened by the archdeacon. Furthermore, he does ''not'' kill Quasimodo's mother in this version.
** The miller's house that film-Frollo commands Phoebus to burn down is replaced by a brothel. He does not lock anyone inside beforehand, as he does not intend to burn people to death, but simply to deprive them of their livelihood. This is nonetheless still nasty enough to prompt Phoebus to rebel.
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!!In addition to the tropes of the [[Literature/TheHunchbackOfNotreDame novel]] and [[Disney/TheHunchbackOfNotreDame Disney film]], the musical musicals contains examples of the following tropes:
*AdaptationalHeroism: Claude Frollo is much more sympathetic than his Disney counterpart, and his characterisation is closer to that of AdaptationalAttractiveness: In the novel, especially at stage show, the beginning. He spent years looking after his beloved but irresponsible brother Jehan, who was eventually kicked out of Notre Dame and died years later along with his gypsy lover, leaving behind hideously deformed Quasimodo for Frollo to adopt; this backstory gives him a compassionate side is played by the rather attractive [[https://unitedmusicals.de/wp-content/uploads/2014/04/Sarich_Drew_4_c_Rolf_Bock-682x1024.jpg Drew Sarich]] (German version) and something of a FreudianExcuse for his hatred of gypsies. Most significantly, Frollo's [[MoralEventHorizon two most heinous actions]] from the Disney film are softened:
** Although he does briefly consider killing the baby, he stops[[https://m.media-amazon.com/images/M/MV5BNjMyMTg2Nzc0Nl5BMl5BanBnXkFtZTcwMDc0Mzg5OA@@._V1_.jpg Michael Arden]] (English version). The only signs of his own accord, unlike deformity aside from his film counterpart who movements are black makeup smeared on his face and a pouch the actors wear on their back to represent the hump.
** The Hungarian production at the Budapest Operetta Theatre uses onlydid so when threatened by a fraction of the archdeacon. Furthermore, already minimal face paint. Instead the actor straps on a [[https://youtu.be/OBnaXQemxG4 leather headpiece]] that matches his hump...which he does ''not'' kill Quasimodo's mother in wears [[MrFanservice bare chested]]
* AdaptationalBadass: More of a ''Recursive'' Badass; Clopin is a much tougher character thisversion.time around (like his original novel counterpart), and in the German production's climax, he wields his signature scythe in battle.
** AdaptationalWimp: Relative to the movie, this applies to Frollo, though much of it simply comes from him being less of a card carrying villain. In the ending of the movie, he tries to kill Quasimodo and Esmeralda himself, and the climax is them trying to escape him. Themiller's house that film-Frollo commands climax of the play however is him struggling to escape as [[spoiler:Quasimodo drags him to the edge of Notre Dame before throwing him off.]] However in the play, Frollo displays no desire to hurt Quasimodo, so he was no doubt taken off guard by Quasimodo's actions.
* AdaptationDistillation: The show is an amalgam of Hugo's original novel and the Disney film. Phoebus is more of a womanizer here than in the film (although he's still a pretty good guy), Clopin's relationship with Esmeralda is more established, and the climax of the show mirrors that of the novel's rather than the film's ([[spoiler: Esmeralda dies shortly after Quasimodo saves her, and Frollo is thrown off the roof by Quasi himself]]). The 2014 American production includes even more elements from the book: Frollo is once again an archdeacon rather than a judge, and the rewritten prologue focuses solely on his backstory and the relationship between him and his younger brother, Jehan.
** One production of the show at the Tuacahn Amphitheatre includes several elements from the film that the original La Jolla production omitted, such as Quasi's imaginary ensemble being portrayed as gargoyles (a reference to the gargoyle trio), as well as the inclusion of Djali, played here by an actual goat.
* AdaptationExpansion: Adds about five more songs and a couple of scenes. One new scene focuses on Esmeralda being taken in by Clopin and the Roma in the Court of Miracles (which was established in the novel but cut from the film).
* AdaptationalHeroism:
** The American production restores Frollo's original role as an AntiVillain. He's much more sympathetic here than in the film, and while he's still ''very'' cruel and sinister, he's genuinely fatherly to Quasimodo just as he previously was to his brother Jehan. His most evil deeds from the film are softened considerably:
*** He never kills Quasi's mother, although he does prepare to kill the baby until he stops himself from doing so (as opposed to being threatened by the archdeacon).
*** Although he still commits arson, he doesn't lock the door and try to burn innocents to death in their home, but instead, tries to burn downis replaced by a brothel. He does not lock anyone inside beforehand, as he does not intend to burn people to death, but simply brothel to deprive them the owner of their livelihood. This her livelihood (which, while less evil, is nonetheless still nasty bad enough to prompt Phoebus Phoebus' rebellion.)
*** At the end he doesn't try torebel.kill Quasimodo over Esmeralda's body, but tries to comfort him saying things can now return to how they used to be. Unfortunately for Frollo however, Quasimodo isn't so ready to forgive him.
** Despite the AdaptationalVillainy stated below, Clopin relatively has this as well. At least as much heroism one can have when trying to lynch the heroes. In the movie, the lyrics to The Court of Miracles are very whimsical and Clopin is obviously enjoying himself with the kangaroo trial he's giving Quasimodo and Phoebus. In the stageplay, even though he is still comical about it, Clopin makes it clear they are being hanged for the safety of the Roma.
** Jehan in the book was an unrepentant [[TheHedonist hedonist]] who cared little for anything but his own pleasure and didn't give two craps about Quasimodo. While he's still a hedonistic frat boy here, he's also depicted as Quasimodo's father and a [[JerkWithAHeartOfGold genuinely good person at heart]], expressing great sorrow over the death of his lover and pleading for Frollo to take Quasimodo in and raise him as his own when his own life starts slipping.
* AdaptationNameChange: Victor, Hugo, and Laverne are renamed Charles, Antoine, and Loni.
*
** Although he does briefly consider killing the baby, he stops
** The Hungarian production at the Budapest Operetta Theatre uses only
* AdaptationalBadass: More of a ''Recursive'' Badass; Clopin is a much tougher character this
** AdaptationalWimp: Relative to the movie, this applies to Frollo, though much of it simply comes from him being less of a card carrying villain. In the ending of the movie, he tries to kill Quasimodo and Esmeralda himself, and the climax is them trying to escape him. The
* AdaptationDistillation: The show is an amalgam of Hugo's original novel and the Disney film. Phoebus is more of a womanizer here than in the film (although he's still a pretty good guy), Clopin's relationship with Esmeralda is more established, and the climax of the show mirrors that of the novel's rather than the film's ([[spoiler: Esmeralda dies shortly after Quasimodo saves her, and Frollo is thrown off the roof by Quasi himself]]). The 2014 American production includes even more elements from the book: Frollo is once again an archdeacon rather than a judge, and the rewritten prologue focuses solely on his backstory and the relationship between him and his younger brother, Jehan.
** One production of the show at the Tuacahn Amphitheatre includes several elements from the film that the original La Jolla production omitted, such as Quasi's imaginary ensemble being portrayed as gargoyles (a reference to the gargoyle trio), as well as the inclusion of Djali, played here by an actual goat.
* AdaptationExpansion: Adds about five more songs and a couple of scenes. One new scene focuses on Esmeralda being taken in by Clopin and the Roma in the Court of Miracles (which was established in the novel but cut from the film).
* AdaptationalHeroism:
** The American production restores Frollo's original role as an AntiVillain. He's much more sympathetic here than in the film, and while he's still ''very'' cruel and sinister, he's genuinely fatherly to Quasimodo just as he previously was to his brother Jehan. His most evil deeds from the film are softened considerably:
*** He never kills Quasi's mother, although he does prepare to kill the baby until he stops himself from doing so (as opposed to being threatened by the archdeacon).
*** Although he still commits arson, he doesn't lock the door and try to burn innocents to death in their home, but instead, tries to burn down
*** At the end he doesn't try to
** Despite the AdaptationalVillainy stated below, Clopin relatively has this as well. At least as much heroism one can have when trying to lynch the heroes. In the movie, the lyrics to The Court of Miracles are very whimsical and Clopin is obviously enjoying himself with the kangaroo trial he's giving Quasimodo and Phoebus. In the stageplay, even though he is still comical about it, Clopin makes it clear they are being hanged for the safety of the Roma.
** Jehan in the book was an unrepentant [[TheHedonist hedonist]] who cared little for anything but his own pleasure and didn't give two craps about Quasimodo. While he's still a hedonistic frat boy here, he's also depicted as Quasimodo's father and a [[JerkWithAHeartOfGold genuinely good person at heart]], expressing great sorrow over the death of his lover and pleading for Frollo to take Quasimodo in and raise him as his own when his own life starts slipping.
* AdaptationNameChange: Victor, Hugo, and Laverne are renamed Charles, Antoine, and Loni.
** Clopin acts a bit more like a crimelord in the stageplay. He demands a cut of Esmeralda's earnings from her dance at the Feast of Fools and when she balks at this he tells her she can either follow his rules or get out of town. Also in a deleted scene, after Quasimodo gets depressed seeing Esmeralda and Phoebus dancing together, Clopin cheers him up. The stage version seems unlikely to give a damn about anyone who isn't a fellow Romani. In fact in the equivalent song, he is mourning the fact that the Roma must flee Paris at the same time Quasimodo is sad.
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* CanonForeigner: Jehan with respect to the Disney film, in which he is AdaptedOut of the original novel.
* CompositeCharacter: This adaptation reverses the film's DecompositeCharacter treatment of Frollo, recombining him with the film's good archdeacon.
* DeathByAdaptation: Esmerelda, who survived in the Disney version, dies of smoke inhalation.
* CompositeCharacter: This adaptation reverses the film's DecompositeCharacter treatment of Frollo, recombining him with the film's good archdeacon.
* DeathByAdaptation: Esmerelda, who survived in the Disney version, dies of smoke inhalation.
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* AdaptedOut: The gargoyles do not appear in the 2014 production. Instead, Quasimodo's "friends" are embodied by the chorus, who act as [[HearingVoices the voices in his head]]. As for comic relief, the show's lighthearted and comedic moments are provided by Phoebus.
* AgeLift: Esmeralda and Jehan were both only sixteen in the book. Here, they're both clearly adults.
* ArcWords: Sanctuary. Even more so than the film.
** "The wicked shall not go unpunished" (sometimes followed by "the heart of the wicked is of little worth") is repeated enough for it to be this as well.
* ArmorPiercingResponse: Jehan delivers one when Frollo refuses to take Quasimodo in.
-->'''Frollo:''' But he is a Gypsy child!\\
'''Jehan:''' And ''mine''.
* BareYourMidriff: Esmeralda at the Festival of Fools for a different sort of fanservice than the Disney one.
* BilingualBonus: A rare Latin example. If some of the melodies in the entr'acte sound familiar, that's for good reason. Parts of it are translated from the original English ''into'' Latin. For example, "Putabum me nunquam / Quod aurum calidum / Quamvis totis viribis vellem" translates roughly to "I swore I'd never know / That warm and loving glow / Though I might wish with all my might". (That said, there are still a few mistakes, like "virib'''i'''s" instead of "virib'''u'''s" in the above.
* BothSidesHaveAPoint: Frollo and Jehan, in the opening number--Frollo is right to scold his brother over his [[TheHedonist unhealthy lifestyle]] and disrespect toward the church that took him in when he had nowhere else to go. When he finally has enough and exposes Jehan's actions to the Archdeacon, however, Jehan rightly calls out Frollo for both his lack of loyalty (valuing the church over his own brother) and the stupidity of believing that the Archdeacon would even ''let'' him stay there after discovering what he's been doing. Plus, while he went too far to the other extreme, Jehan certainly had a point as to how repressive the church could be, as Frollo learns too late.
* CanonForeigner: Saint Aphrodisius and Lieutenant Frederic Charlus in the American production.
* CanonImmigrant: Jehanwith respect to Frollo (Claude's younger brother) plays a pivotal role in the Disney film, in which he is AdaptedOut of prologue as Quasimodo's father. King Louis XI also appears to grant Frollo permission to search the original novel.town for Esmeralda (this eliminates Frollo's seemingly tyrannical rule in the film).
*CompositeCharacter: This adaptation reverses TheCasanova: Phoebus regains some of his womanizing traits, but he still [[LadykillerInLove genuinely loves Esmeralda]].
* CassandraTruth: In thefilm's DecompositeCharacter treatment of Frollo, recombining him with the film's good archdeacon.Berlin version, Quasimodo's mother tries to explain she's holding her baby. Frollo doesn't believe her and chases her down.
*DeathByAdaptation: Esmerelda, ChekhovsGun: The hot lead used to mend the bells that Quasimodo mentions early in the show becomes important during the finale, as he pours it on the guards who survived in are coming to get him and Esmeralda.
* CompositeCharacter: The musical effectively reverses the film's DecompositeCharacter treatment of Frollo, recombining him with the good archdeacon.
* DarkerAndEdgier: The play is darker than the Disneyversion, film it is based on, but it is still LighterAndSofter than the novel. [[spoiler:Esmeralda dies and Quasimodo deliberately kills Frollo,]] for one. Much more jokes for the benefit of the adults were added, along with sexual innuendo, and Esmeralda's hideout being a tavern and her protector being the madam of the whorehouse (who was specifically referred to in the lyrics as "the madam, that whore".)
** The new Berlin cast recording is darker than the New Jersey one, being recorded live onstage and therefore retaining all of the elements left out of the American album. For example, in the Finale Ultimo, the sound of Frollo [[spoiler: hitting the ground]] can be heard, as well as Quasimodo's anguished line of "There lies... all that I have ever loved."
* DarkReprise: A couple new ones from the movie.
** Quasimodo first sings "Heaven's Light" about how he has found someone who might actually love him as ugly as he is. During "In A Place of Miracles", Phoebus and Esmeralda's love duet, Quasimodo, watching from a distance, reprises the aforementioned song confirming to himself that nobody could ever love him.
** Though it wasn't exactly a happy song, musically the song "Esmeralda" is up tempo and bright sounding as the city searches for Esmeralda for various reasons. At the end of the story, it is reprised by Frollo [[spoiler:celebrating Esmeralda's death in a slow and ominous tone.]]
* DeathByAdaptation:
** Unlike the Disney film, [[spoiler:where Esmeralda is SparedByTheAdaptation, here, she dies just like in the novel, succumbing to smoke inhalation shortly after Quasi saves her]].
** In some versions of the American and the new German production, [[spoiler:Quasimodo dies too, having spent the rest of his life with Esmeralda's corpse until they both rotted away into skeletons. This ending is taken straight from the original novel]].
** Played with in regards to [[spoiler:Jehan]]. He dies near the very end of the book (and at the hands of [[spoiler:''Quasimodo'']] of all people), but here, he dies in the opening number.
* DemotedToExtra: Clopin in the 2014 American production. While he still has a very sizable role in the show, he no longer serves as the narrator. Instead, the ensemble narrates much of the story in a way similar to that of a GreekChorus.
* DisappearedDad: Jehan Frollo, who is Quasimodo's father in the stage adaptation, dies in the story's prologue, leaving Quasimodo for his brother Claude Frollo to raise.
* DisneyVillainDeath: Frollo [[spoiler:still falls to his death in the show, but this time, Quasi is the one that throws him off the building, like in the original novel]].
* TheDogBitesBack:
-->'''Frollo:''' Quasimodo, please, you don't want to hurt me!\\
'''Chorus:''' ''Yes you do...''
* DownerEnding: [[spoiler: Esmeralda dies of smokeinhalation. inhalation, despite Quasimodo saving her. After Quasi throws Frollo to his death, he then sings a DarkReprise of "Out There", in which he realizes that while the world is ugly and cruel, it is the only world we have, and there will always be a glimmer of light that sheds through all the darkness (like Esmeralda). The show wraps up with a DarkReprise of "The Bells of Notre Dame", led by a mourning Clopin.]]
* EloquentInMyNativeTongue: In the stage show, Quasimodo's voice is hoarse and raspy with simple sentences and occasional grammar mistakes when he speaks aloud, but smoother and nearly flawless when he's expressing his thoughts in song. (In the original novel, Quasimodo became deaf due to his ringing of the bells. He is at least hard-of-hearing in this version. This acting choice might be deliberate, as Michael Arden (the New Jersey Quasimodo) has previously worked with Deaf West Theatre and knows American Sign Language.)
** Some productions have taken this a step futher and cast deaf actors as Quasimodo, having them speak while reciting their dialogue in sign language(they also cast a second actor to sing the songs while the main actor acts and signs the lyrics).
* EvenEvilHasLovedOnes: Played with Frollo. Unlike the movie, he is genuinely fatherly to Quasimodo even if he is a cruel man. However at the end when Quasimodo angrily asks him who he has ever loved, he is unable to bring himself to say Quasimodo, he can only say he loved his brother.
* AgeLift: Esmeralda and Jehan were both only sixteen in the book. Here, they're both clearly adults.
* ArcWords: Sanctuary. Even more so than the film.
** "The wicked shall not go unpunished" (sometimes followed by "the heart of the wicked is of little worth") is repeated enough for it to be this as well.
* ArmorPiercingResponse: Jehan delivers one when Frollo refuses to take Quasimodo in.
-->'''Frollo:''' But he is a Gypsy child!\\
'''Jehan:''' And ''mine''.
* BareYourMidriff: Esmeralda at the Festival of Fools for a different sort of fanservice than the Disney one.
* BilingualBonus: A rare Latin example. If some of the melodies in the entr'acte sound familiar, that's for good reason. Parts of it are translated from the original English ''into'' Latin. For example, "Putabum me nunquam / Quod aurum calidum / Quamvis totis viribis vellem" translates roughly to "I swore I'd never know / That warm and loving glow / Though I might wish with all my might". (That said, there are still a few mistakes, like "virib'''i'''s" instead of "virib'''u'''s" in the above.
* BothSidesHaveAPoint: Frollo and Jehan, in the opening number--Frollo is right to scold his brother over his [[TheHedonist unhealthy lifestyle]] and disrespect toward the church that took him in when he had nowhere else to go. When he finally has enough and exposes Jehan's actions to the Archdeacon, however, Jehan rightly calls out Frollo for both his lack of loyalty (valuing the church over his own brother) and the stupidity of believing that the Archdeacon would even ''let'' him stay there after discovering what he's been doing. Plus, while he went too far to the other extreme, Jehan certainly had a point as to how repressive the church could be, as Frollo learns too late.
* CanonForeigner: Saint Aphrodisius and Lieutenant Frederic Charlus in the American production.
* CanonImmigrant: Jehan
*
* CassandraTruth: In the
*
* CompositeCharacter: The musical effectively reverses the film's DecompositeCharacter treatment of Frollo, recombining him with the good archdeacon.
* DarkerAndEdgier: The play is darker than the Disney
** The new Berlin cast recording is darker than the New Jersey one, being recorded live onstage and therefore retaining all of the elements left out of the American album. For example, in the Finale Ultimo, the sound of Frollo [[spoiler: hitting the ground]] can be heard, as well as Quasimodo's anguished line of "There lies... all that I have ever loved."
* DarkReprise: A couple new ones from the movie.
** Quasimodo first sings "Heaven's Light" about how he has found someone who might actually love him as ugly as he is. During "In A Place of Miracles", Phoebus and Esmeralda's love duet, Quasimodo, watching from a distance, reprises the aforementioned song confirming to himself that nobody could ever love him.
** Though it wasn't exactly a happy song, musically the song "Esmeralda" is up tempo and bright sounding as the city searches for Esmeralda for various reasons. At the end of the story, it is reprised by Frollo [[spoiler:celebrating Esmeralda's death in a slow and ominous tone.]]
* DeathByAdaptation:
** Unlike the Disney film, [[spoiler:where Esmeralda is SparedByTheAdaptation, here, she dies just like in the novel, succumbing to smoke inhalation shortly after Quasi saves her]].
** In some versions of the American and the new German production, [[spoiler:Quasimodo dies too, having spent the rest of his life with Esmeralda's corpse until they both rotted away into skeletons. This ending is taken straight from the original novel]].
** Played with in regards to [[spoiler:Jehan]]. He dies near the very end of the book (and at the hands of [[spoiler:''Quasimodo'']] of all people), but here, he dies in the opening number.
* DemotedToExtra: Clopin in the 2014 American production. While he still has a very sizable role in the show, he no longer serves as the narrator. Instead, the ensemble narrates much of the story in a way similar to that of a GreekChorus.
* DisappearedDad: Jehan Frollo, who is Quasimodo's father in the stage adaptation, dies in the story's prologue, leaving Quasimodo for his brother Claude Frollo to raise.
* DisneyVillainDeath: Frollo [[spoiler:still falls to his death in the show, but this time, Quasi is the one that throws him off the building, like in the original novel]].
* TheDogBitesBack:
-->'''Frollo:''' Quasimodo, please, you don't want to hurt me!\\
'''Chorus:''' ''Yes you do...''
* DownerEnding: [[spoiler: Esmeralda dies of smoke
* EloquentInMyNativeTongue: In the stage show, Quasimodo's voice is hoarse and raspy with simple sentences and occasional grammar mistakes when he speaks aloud, but smoother and nearly flawless when he's expressing his thoughts in song. (In the original novel, Quasimodo became deaf due to his ringing of the bells. He is at least hard-of-hearing in this version. This acting choice might be deliberate, as Michael Arden (the New Jersey Quasimodo) has previously worked with Deaf West Theatre and knows American Sign Language.)
** Some productions have taken this a step futher and cast deaf actors as Quasimodo, having them speak while reciting their dialogue in sign language(they also cast a second actor to sing the songs while the main actor acts and signs the lyrics).
* EvenEvilHasLovedOnes: Played with Frollo. Unlike the movie, he is genuinely fatherly to Quasimodo even if he is a cruel man. However at the end when Quasimodo angrily asks him who he has ever loved, he is unable to bring himself to say Quasimodo, he can only say he loved his brother.
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* FreudianExcuse: Frollo is given one for his irrational hatred of the gypsies: he blames them for the death of his brother Jehan, who died after being exiled from Notre Dame on account of a gypsy woman he had taken as his lover.
to:
* FamousLastWords:
** "I don't think forever...you're such a good friend, Quasimodo...--[[spoiler:Esmeralda]]
** "DAMNATION!"--[[spoiler:Frollo]]
* FingerlessGloves: Quasimodo wears a pair of these, along with ragged red clothes as opposed to green.
** He's back to green in the American production
* FreudianExcuse: Frollois given one has a reason for his irrational hatred of Roma in the gypsies: he blames them for the death of stage version. He watched his brother Jehan, who died after descend into hedonism with a Roma woman and eventually die of the pox years later. Frollo blames the Roma for all of this.
* HollywoodFire: Averted; [[spoiler: it's not the fire that kills Esmeralda but the smoke she inhaled]].
* HonorBeforeReason: This is a bit of an issue with Esmeralda and the main reason why Clopin is a bit weary of her as well. She has a tendency to ''always'' do what's right, always speaking her mind and to value her independence and freedom above all else. When told that something isn't her business her usual response will be "Someone has to make it their business." Following rules and keeping a low profile isn't exactly her forte.
* InNameOnly: Although the USA production is still advertised as "Disney's The Hunchback of Notre Dame", the show itself can best be described as an adaptation of the Victor Hugo novel with ''songs'' from the Disney film. It borrows several elements from the book, DownerEnding included, the characters are much closer to their novel counterparts, and as a whole, the show [[DarkerAndEdgier lacks the lighthearted, family-friendly tone of the Disney film]].
* IronicEcho: "The wicked shall not go unpunished." Said multiple times by Frollo throughout the show before beingexiled from thrown back in his face by Quasimodo moments before [[spoiler:Quasimodo throws him off the top of Notre Dame on account of a gypsy woman he had taken as Dame.]]
* LadykillerInLove: Phoebus toward Esmeralda, Jehan toward Florika.
* MadDreamer: Quasimodo. Here it's made explicit the gargoyles are in hislover. imagination to help him cope with his loneliness.
** "I don't think forever...you're such a good friend, Quasimodo...--[[spoiler:Esmeralda]]
** "DAMNATION!"--[[spoiler:Frollo]]
* FingerlessGloves: Quasimodo wears a pair of these, along with ragged red clothes as opposed to green.
** He's back to green in the American production
* FreudianExcuse: Frollo
* HollywoodFire: Averted; [[spoiler: it's not the fire that kills Esmeralda but the smoke she inhaled]].
* HonorBeforeReason: This is a bit of an issue with Esmeralda and the main reason why Clopin is a bit weary of her as well. She has a tendency to ''always'' do what's right, always speaking her mind and to value her independence and freedom above all else. When told that something isn't her business her usual response will be "Someone has to make it their business." Following rules and keeping a low profile isn't exactly her forte.
* InNameOnly: Although the USA production is still advertised as "Disney's The Hunchback of Notre Dame", the show itself can best be described as an adaptation of the Victor Hugo novel with ''songs'' from the Disney film. It borrows several elements from the book, DownerEnding included, the characters are much closer to their novel counterparts, and as a whole, the show [[DarkerAndEdgier lacks the lighthearted, family-friendly tone of the Disney film]].
* IronicEcho: "The wicked shall not go unpunished." Said multiple times by Frollo throughout the show before being
* LadykillerInLove: Phoebus toward Esmeralda, Jehan toward Florika.
* MadDreamer: Quasimodo. Here it's made explicit the gargoyles are in his
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* RelatedInTheAdaptation: Here, Quasimodo is Frollo's nephew, the son of his deceased brother Jehan and a gypsy woman.
to:
* MeaningfulEcho: "The wicked shall not go unpunished." First said by Claude to Jehan Frollo, and last said by Quasimodo (and the choir echoing) as Frollo [[spoiler: falls to his death]].
* NamedByTheAdaptation: Quasimodo's mother is named Florika in the American production.
* ParentalAbandonment: Jehan Frollo and Quasimodo's mother Florika to Quasimodo due to the both of them dying from an unknown sickness.
* PetTheDog: Instead of saying Quasi would be "of use to him" when he takes him in an act of guilt because of killing his mother (in the film), Frollo says he will take him in as a son. However, Frollo still only visits Quasi in the bell tower to bully him, telling him that he should stay in "sanctuary" in the bell tower because he is "ugly" and "deformed", and it's clear that he sees Quasimodo less like a son or a person, but as a means to redeem himself for failing with Jehan by raising him to be the same repressed sort of person as himself.
* PlayingGertrude: Frollo is now played by a actor who looks to be middle-aged, rather than as an old man like in the Disney film.
* PleaseWakeUp: Quasimodo's reaction to [[spoiler: Esmeralda's death]].
* RelatedInTheAdaptation:Here, Quasimodo is Frollo's nephew, In the son of his deceased brother American production, Frollo is Quasimodo's uncle (his brother, Jehan and a gypsy woman. Frollo, is Quasi's birth father).
* NamedByTheAdaptation: Quasimodo's mother is named Florika in the American production.
* ParentalAbandonment: Jehan Frollo and Quasimodo's mother Florika to Quasimodo due to the both of them dying from an unknown sickness.
* PetTheDog: Instead of saying Quasi would be "of use to him" when he takes him in an act of guilt because of killing his mother (in the film), Frollo says he will take him in as a son. However, Frollo still only visits Quasi in the bell tower to bully him, telling him that he should stay in "sanctuary" in the bell tower because he is "ugly" and "deformed", and it's clear that he sees Quasimodo less like a son or a person, but as a means to redeem himself for failing with Jehan by raising him to be the same repressed sort of person as himself.
* PlayingGertrude: Frollo is now played by a actor who looks to be middle-aged, rather than as an old man like in the Disney film.
* PleaseWakeUp: Quasimodo's reaction to [[spoiler: Esmeralda's death]].
* RelatedInTheAdaptation:
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* SelfDisposingVillain: Averted unlike the movie version and like pretty much every other Disney production. Instead of Frollo falling to his death while trying to kill Quasimodo and Esmeralda, Quasimodo drags him to the edge of Notre Dame and throws him to his death while he begs for Quasimodo to let him go.
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* SoundtrackDissonance: Parts of "Esmerelda" were oddly cheerful for a song about hunting down and burning an innocent woman.
* SparedByTheAdaptation: In [[https://www.youtube.com/playlist?list=PLzvdeRjhZpVkhPWk_LL8Vnhk0DaZ77Aw5 a direct English translation of the German version]] that was skewed more family-friendly, both Esmeralda and Frollo survive in the end: Esmeralda's survival is taken straight from the Disney movie, while after Quasimodo spares Frollo's life and is willing to give his own to protect Esmeralda, Frollo actually has a HeelRealization and, following one final show of parental affection for Quasimodo, retreats from the church.
* SparedByTheAdaptation: In [[https://www.youtube.com/playlist?list=PLzvdeRjhZpVkhPWk_LL8Vnhk0DaZ77Aw5 a direct English translation of the German version]] that was skewed more family-friendly, both Esmeralda and Frollo survive in the end: Esmeralda's survival is taken straight from the Disney movie, while after Quasimodo spares Frollo's life and is willing to give his own to protect Esmeralda, Frollo actually has a HeelRealization and, following one final show of parental affection for Quasimodo, retreats from the church.
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* ATasteOfTheLash: In the American production, Quasimodo is publicly whipped during the Feast of Fools.
* WarIsHell: Phoebus' intro song indicates he suffers from PTSD as a result of four years of harsh fighting in the crusades, complete with grisly lyrics reflecting the harsh conditions of being a soldier. He ends up fighting a different kind of war in the course of the play.
* WhiteStallion: Captain Phoebus rides a white horse because he's the captain.
* WoobieDestroyerOfWorlds: Frollo is much closer to his book incarnation in this version, being a man who was once genuinely good, but a crisis of faith drives him mad.
* WarIsHell: Phoebus' intro song indicates he suffers from PTSD as a result of four years of harsh fighting in the crusades, complete with grisly lyrics reflecting the harsh conditions of being a soldier. He ends up fighting a different kind of war in the course of the play.
* WhiteStallion: Captain Phoebus rides a white horse because he's the captain.
* WoobieDestroyerOfWorlds: Frollo is much closer to his book incarnation in this version, being a man who was once genuinely good, but a crisis of faith drives him mad.
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* CompositeCharacter: Claude Frollo combines the traits from both Frollo and the Archdeacon in the Disney version, both of whom are the result of novel-Frollo undergoing DecompositeCharacter.
to:
* CompositeCharacter: Claude Frollo combines This adaptation reverses the traits from both Frollo and film's DecompositeCharacter treatment of Frollo, recombining him with the Archdeacon in the Disney version, both of whom are the result of novel-Frollo undergoing DecompositeCharacter.film's good archdeacon.
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** Unlike his novel counterpart, Frollo briefly contemplates killing baby Quasimodo at the beginning, but changes his mind when he feels the eyes of Notre Dame upon him.
** Like his novel counterpart, Quasimodo does indeed throw Frollo to his death, which did not occur in the Disney film.
** Like his novel counterpart, Quasimodo does indeed throw Frollo to his death, which did not occur in the Disney film.
to:
** Unlike Frollo in relation to his novel counterpart, Frollo thanks to the inspiration of the Disney film. For example, he does briefly contemplates contemplate killing baby Quasimodo at the beginning, but changes before changing his mind when he feels the eyes of Notre Dame upon him.that this is a "test from God".
**Like Unlike his novel film counterpart, Quasimodo does indeed throw Frollo to his death, which did not occur death in the Disney film.fashion of the original novel.
**
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* FreudianExcuse: Frollo is given something of one for his hatred of the gypsies: he blames them for the death of his brother Jehan, who died after being exiled from Notre Dame on account of a gypsy woman he had taken as his lover.
to:
* FreudianExcuse: Frollo is given something of one for his irrational hatred of the gypsies: he blames them for the death of his brother Jehan, who died after being exiled from Notre Dame on account of a gypsy woman he had taken as his lover.
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* AdaptationalHeroism: Claude Frollo is much more sympathetic than his Disney counterpart, and his characterisation is closer to that of the novel, especially at the beginning. He spent years looking after his beloved but irresponsible brother Jehan, who was eventually kicked out of Notre Dame and died years later along with his gypsy lover, leaving behind Quasimodo for Frollo to adopt. Most significantly, Frollo's [[MoralEventHorizon two most heinous actions]] from the Disney film are softened:
to:
* AdaptationalHeroism: Claude Frollo is much more sympathetic than his Disney counterpart, and his characterisation is closer to that of the novel, especially at the beginning. He spent years looking after his beloved but irresponsible brother Jehan, who was eventually kicked out of Notre Dame and died years later along with his gypsy lover, leaving behind Quasimodo for Frollo to adopt.adopt; this backstory gives him a compassionate side and something of a FreudianExcuse for his hatred of gypsies. Most significantly, Frollo's [[MoralEventHorizon two most heinous actions]] from the Disney film are softened:
Added DiffLines:
* FreudianExcuse: Frollo is given something of one for his hatred of the gypsies: he blames them for the death of his brother Jehan, who died after being exiled from Notre Dame on account of a gypsy woman he had taken as his lover.
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** Although he does briefly consider killing the baby, he stops of his own accord, unlike his film counterpart who only did so when threatened by the archdeacon.
** The miller's house that Frollo commands Phoebus to burn down is replaced by a brothel. He does not lock anyone inside beforehand, as he does not intend to burn people to death, but simply to deprive them of their livelihood. This is nonetheless still nasty enough to prompt Phoebus to rebel.
** The miller's house that Frollo commands Phoebus to burn down is replaced by a brothel. He does not lock anyone inside beforehand, as he does not intend to burn people to death, but simply to deprive them of their livelihood. This is nonetheless still nasty enough to prompt Phoebus to rebel.
to:
** Although he does briefly consider killing the baby, he stops of his own accord, unlike his film counterpart who only did so when threatened by the archdeacon. Furthermore, he does ''not'' kill Quasimodo's mother in this version.
** The miller's house thatFrollo film-Frollo commands Phoebus to burn down is replaced by a brothel. He does not lock anyone inside beforehand, as he does not intend to burn people to death, but simply to deprive them of their livelihood. This is nonetheless still nasty enough to prompt Phoebus to rebel.
** The miller's house that
Added DiffLines:
* EvilUncle: Frollo is Quasimodo's uncle who gradually [[LoveMakesYouEvil becomes evil]] over the course of the story.
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** When he commands Phoebus to burn down the peasants' house, it is ''not'' with them locked inside: his intent is not to burn them to death, but only to deprive them of their home. This is nonetheless still nasty enough to prompt Phoebus to rebel.
to:
** When he The miller's house that Frollo commands Phoebus to burn down the peasants' house, it is ''not'' with them locked inside: his intent is replaced by a brothel. He does not lock anyone inside beforehand, as he does not intend to burn them people to death, but only simply to deprive them of their home.livelihood. This is nonetheless still nasty enough to prompt Phoebus to rebel.
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Changed line(s) 7 (click to see context) from:
* AdaptationalHeroism: Frollo is much more sympathetic than his Disney counterpart, and his characterisation is closer to that of the novel, especially at the beginning. He spent years looking after his beloved but irresponsible brother Jehan, who was eventually kicked out of Notre Dame and died years later along with his gypsy lover, leaving behind Quasimodo for Frollo to adopt. Most significantly, Frollo's [[MoralEventHorizon two most heinous actions]] from the Disney film are softened:
to:
* AdaptationalHeroism: Claude Frollo is much more sympathetic than his Disney counterpart, and his characterisation is closer to that of the novel, especially at the beginning. He spent years looking after his beloved but irresponsible brother Jehan, who was eventually kicked out of Notre Dame and died years later along with his gypsy lover, leaving behind Quasimodo for Frollo to adopt. Most significantly, Frollo's [[MoralEventHorizon two most heinous actions]] from the Disney film are softened:
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* SomeoneToRememberHimBy: Quasimodo is the son of Frollo's dead brother Jehan.
to:
* SomeoneToRememberHimBy: Quasimodo is the son of Claude Frollo's dead brother Jehan.Jehan.
* TakeCareOfTheKids: The last request of the dying Jehan is for Claude to adopt his son Quasimodo.
* TakeCareOfTheKids: The last request of the dying Jehan is for Claude to adopt his son Quasimodo.
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Changed line(s) 7,8 (click to see context) from:
* AdaptationalHeroism: Frollo is much more humanised and sympathetic than his CompleteMonster Disney counterpart, and his characterisation is more in keeping with the novel, especially at the beginning. He spent years looking after his beloved but irresponsible brother Jehan, who was eventually kicked out of Notre Dame and died years later, having fathered Quasimodo with a gypsy woman. Most significant, however, is the softening of his [[MoralEventHorizon two most heinous actions]] from the Disney film:
** Although he does briefly considers killing the baby, he stops of his own accord, unlike his film counterpart who only did so when threatened by the archdeacon.
** Although he does briefly considers killing the baby, he stops of his own accord, unlike his film counterpart who only did so when threatened by the archdeacon.
to:
* AdaptationalHeroism: Frollo is much more humanised and sympathetic than his CompleteMonster Disney counterpart, and his characterisation is more in keeping with closer to that of the novel, especially at the beginning. He spent years looking after his beloved but irresponsible brother Jehan, who was eventually kicked out of Notre Dame and died years later, having fathered later along with his gypsy lover, leaving behind Quasimodo with a gypsy woman. for Frollo to adopt. Most significant, however, is the softening of his significantly, Frollo's [[MoralEventHorizon two most heinous actions]] from the Disney film:
film are softened:
** Although he does brieflyconsiders consider killing the baby, he stops of his own accord, unlike his film counterpart who only did so when threatened by the archdeacon.
** Although he does briefly
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Changed line(s) 7 (click to see context) from:
* AdaptationalHeroism: Frollo is much more humanised and sympathetic than his CompleteMonster Disney counterpart, and his characterisation is more in keeping with the novel, especially at the beginning. He spent years looking after his beloved but irresponsible brother Jehan, who was eventually kicked out of Notre Dame and died years later, having fathered Quasimodo with a gypsy woman. Most significant, however, is the softening of his two most heinous moments from the Disney film:
to:
* AdaptationalHeroism: Frollo is much more humanised and sympathetic than his CompleteMonster Disney counterpart, and his characterisation is more in keeping with the novel, especially at the beginning. He spent years looking after his beloved but irresponsible brother Jehan, who was eventually kicked out of Notre Dame and died years later, having fathered Quasimodo with a gypsy woman. Most significant, however, is the softening of his [[MoralEventHorizon two most heinous moments actions]] from the Disney film:
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You may be looking for:
* ''Theatre/NotreDameDeParis'', the French and Québécois musical created in 1998, based on the 1831 Creator/VictorHugo [[Literature/TheHunchbackOfNotreDame novel of the same name]].
* ''The Hunchback of Notre Dame'', the 1999 musical based on the [[Disney/TheHunchbackOfNotreDame Disney animated film]] of the same name, itself inspired by the novel.
* ''Theatre/NotreDameDeParis'', the French and Québécois musical created in 1998, based on the 1831 Creator/VictorHugo [[Literature/TheHunchbackOfNotreDame novel of the same name]].
* ''The Hunchback of Notre Dame'', the 1999 musical based on the [[Disney/TheHunchbackOfNotreDame Disney animated film]] of the same name, itself inspired by the novel.
to:
* ''Theatre/NotreDameDeParis'', the French and Québécois musical created in 1998, based on the 1831 Creator/VictorHugo [[Literature/TheHunchbackOfNotreDame novel of the same name]].
* ''The
Not to be confused with ''Theatre/NotreDameDeParis'', the French and Québécois musical created in 1998, which is more directly based on the [[Literature/TheHunchbackOfNotreDame original novel]].
!!In addition to the tropes of the [[Literature/TheHunchbackOfNotreDame novel]] and [[Disney/TheHunchbackOfNotreDame Disney film]], the musical contains examples of the following tropes:
* AdaptationalHeroism: Frollo is much more humanised and sympathetic than his CompleteMonster Disney counterpart, and his characterisation is more in keeping with the novel, especially at the beginning. He spent years looking after his beloved but irresponsible brother Jehan, who was eventually kicked out of Notre Dame and died years later, having fathered Quasimodo with a gypsy woman. Most significant, however, is the softening of his two most heinous moments from the Disney film:
** Although he does briefly considers killing the baby, he stops of his own accord, unlike his film counterpart who only did so when threatened by the archdeacon.
** When he commands Phoebus to burn down the peasants' house, it is ''not'' with them locked inside: his intent is not to burn them to death, but only to deprive them of their home. This is nonetheless still nasty enough to prompt Phoebus to rebel.
* AdaptationalVillainy:
** Unlike his novel counterpart, Frollo briefly contemplates killing baby Quasimodo at the beginning, but changes his mind when he feels the eyes of Notre Dame upon him.
** Like his novel counterpart, Quasimodo does indeed throw Frollo to his death, which did not occur in the Disney film.
* CanonForeigner: Jehan with respect to the Disney film, in which he is AdaptedOut of the original novel.
* CompositeCharacter: Claude Frollo combines the traits from both Frollo and the Archdeacon in the Disney version, both of whom are the result of novel-Frollo undergoing DecompositeCharacter.
* DeathByAdaptation: Esmerelda, who survived in the Disney version, dies of smoke inhalation.
* MaybeMagicMaybeMundane: The cathedral itself and the gargoyles may be directly talking to the characters, or it may be imagined. Frollo is inspired by them to spare and look after Quasimodo at the beginning of the story, and Quasimodo is inspired by them to kill Frollo at the end of it.
* RelatedInTheAdaptation: Here, Quasimodo is Frollo's nephew, the son of his deceased brother Jehan and a gypsy woman.
* ScreenToStageAdaptation: Based on the [[Disney/TheHunchbackOfNotreDame Disney animated film]], but with additional elements taken from the original novel.
* SomeoneToRememberHimBy: Quasimodo is the son of Frollo's dead brother Jehan.
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* ''The Hunchback of Notre Dame'', the 1999 musical based on the [[Disney/TheHunchbackOfNotreDame Disney film]] of the same name, itself inspired the novel.
to:
* ''The Hunchback of Notre Dame'', the 1999 musical based on the [[Disney/TheHunchbackOfNotreDame Disney animated film]] of the same name, itself inspired by the novel.
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Changed line(s) 4 (click to see context) from:
* ''The Hunchback of Notre Dame'', the 1999 musical based on the [[Disney/TheHunchbackOfNotreDame Disney film]] of the same name, itself rather loosely based on the novel.
to:
* ''The Hunchback of Notre Dame'', the 1999 musical based on the [[Disney/TheHunchbackOfNotreDame Disney film]] of the same name, itself rather loosely based on inspired the novel.
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Changed line(s) 4 (click to see context) from:
* ''The Hunchback of Notre Dame'', the 1999 musical based on the [[Disney/TheHunchbackOfNotreDame Disney film]] of the same name, itself based on the novel of the same name.
to:
* ''The Hunchback of Notre Dame'', the 1999 musical based on the [[Disney/TheHunchbackOfNotreDame Disney film]] of the same name, itself rather loosely based on the novel of the same name.novel.
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Changed line(s) 3,4 (click to see context) from:
* ''Theatre/NotreDameDeParis'', the French and Québécois musical based on the novel created in 1998.
* ''The Hunchback of Notre Dame'', the 1999 musical based on the [[Disney/TheHunchbackOfNotreDame Disney film]] of the same name, itself based on the [[Literature/TheHunchbackOfNotreDame 1831 novel]].
* ''The Hunchback of Notre Dame'', the 1999 musical based on the [[Disney/TheHunchbackOfNotreDame Disney film]] of the same name, itself based on the [[Literature/TheHunchbackOfNotreDame 1831 novel]].
to:
* ''Theatre/NotreDameDeParis'', the French and Québécois musical created in 1998, based on the 1831 Creator/VictorHugo [[Literature/TheHunchbackOfNotreDame novel created in 1998.
of the same name]].
* ''The Hunchback of Notre Dame'', the 1999 musical based on the [[Disney/TheHunchbackOfNotreDame Disney film]] of the same name, itself based on the[[Literature/TheHunchbackOfNotreDame 1831 novel]].novel of the same name.
* ''The Hunchback of Notre Dame'', the 1999 musical based on the [[Disney/TheHunchbackOfNotreDame Disney film]] of the same name, itself based on the
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* ''Theatre/NotreDameDeParis'', the French and Québécois musical based on the novel created in 1998.
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* ''Theatre/NotreDameDeParis'', the 1999 French and Québécois musical based on the novel.
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[[redirect:Disney/TheHunchbackOfNotreDame]]
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* ''The Hunchback of Notre Dame'', the 1999 musical based on the [[Disney/TheHunchbackOfNotreDame Disney film]] of the same name, itself based on the [[Literature/TheHunchbackOfNotreDame 1831 novel]].
* ''Theatre/NotreDameDeParis'', the 1999 French and Québécois musical based on the novel.
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[[redirect:Disney/TheHunchbackOfNotreDame]]
