mendelstyx Posted May 20, 2008 Report Share Posted May 20, 2008 It sincerely pains me to post this review as I truly disagree with about 95% of it. I will add to the thread already started. For those who have seen it, I heartily recommend writing and voicing your opinion. Sadly...here it is: http://www.chicagotribune.com/features/lif...0,5233957.story DeYoung's 'Hunchback' hits some highs, but its time has passed By Chris Jones | Tribune critic May 22, 2008 Article tools * EmailE-mail * Share o Digg o Del.icio.us o Facebook o Fark o Google o Newsvine o Reddit o Yahoo * PrintPrint * ReprintReprints * Post comment * Text size:increase text sizedecrease text size If this were 1994, Broadway producers would be all over Dennis DeYoung's musical version of "The Hunchback of Notre Dame." Hire somebody to write a new, richer book, they'd be saying. Find some hot designers. Seduce some star names. But whatever you do after this rough-and-ready outing at the Bailiwick Repertory Theatre, keep those brooding power ballads and thrilling melody lines. Very few composers can write such seductive hooks. And the theater needs 'em all. But time has moved on. Broadway is no longer in the thrall of throbbing, gothic tales set to grandiose rock-pop scores, but prefers more glancing, ironic fare. And so, I fear, it felt on Monday night like the moment has passed for DeYoung's "Hunchback," even though the joint was suffused with infectious musical passion and DeYoung's soaring, populist score is surely the equal of any of the Frank Wildhorn creations that made millions in the 1990s. Even in the best of prior circumstances, the show would have needed a lot of work. The book is barely a book—the central character of Quasimodo remains an elusive, underwritten figure. Even in this simplified version of the Victor Hugo novel, you don't see the moment where the priest Frollo falls in love with Esmerelda, nor do you feel the growth of Quasimodo's love. The overall romantic mood of the piece is compromised by some tacky comedic dialogue ("Why don't you go back to Egypt where you belong?" "Phar-enough?"). And there's no sense of the majestic, metaphoric sweep that made "Les Miserables" such a phenomenon. To call David Zak's heartfelt production a mixed bag does not adequately describe its contrasts. Aided by an enhanced sound system, a six-piece band and several Equity contracts, some of the singing is spectacular. And in the person of George Andrew Wolff, there's a powerful lead performance. Given the hump and the lack of characterization, there were a million ways for Wolff to camp this up. Instead, he offers a moving take on this reclusive fellow and belts his problems to the rafters. As Esmerelda, Dana Tretta stuffs her heart into her mouth and gives it her considerable all. And although not ideally cast, James Rank brings his usual humanity and vocal integrity to the role of the soldier Phoebus. But some of the growling ensemble work is about as subtle as a kick in your bad teeth. And as the tortured guardian of Notre Dame, the typically impressive Jeremy Rill seems lost in the belfry, reduced to ringing his hands and wandering awkwardly. The setting—platforms and a couple of projections—is so limited that you wonder, at times, if this endeavor would not have been better served as a concert staging. Certainly, there's no real choreography, even though the capable Brenda Didier is on hand. But if you just want to hear DeYoung's great music, this show mostly delivers. The top-notch signature ballad, "With Every Heartbeat," is performed in bravura fashion. So is the moving "Esmerelda." And I'm very fond of "Who Will Love This Child?" DeYoung's fans will be impressed at the care taken here with their man's compositions and the passion and sincerity behind their musical expression. In ideal circumstances, someone would come up with the ideal new vehicle and partners for DeYoung to compose for the stage. He could help put Broadway back in touch with some of its hardest-working customers. cjones5@tribune.com "The Hunchback of Notre Dame" When: Through July 6 Where: Bailiwick Repertory Theatre, 1229 W. Belmont Ave. Running time: 2 hours, 15 minutes Tickets: $25-$45 at 773-883-1090 More articles Get Chicago Tribune home delivery and save big. Copyright © 2008, Chicago Tribune Would you recommend this? Quote Link to comment Share on other sites More sharing options...
ladybugking Posted May 21, 2008 Report Share Posted May 21, 2008 It sincerely pains me to post this review as I truly disagree with about 95% of it. I will add to the thread already started. For those who have seen it, I heartily recommend writing and voicing your opinion. Sadly...here it is: http://www.chicagotribune.com/features/lif...0,5233957.story DeYoung's 'Hunchback' hits some highs, but its time has passed By Chris Jones | Tribune critic May 22, 2008 Article tools * EmailE-mail * Share o Digg o Del.icio.us o Facebook o Fark o Google o Newsvine o Reddit o Yahoo * PrintPrint * ReprintReprints * Post comment * Text size:increase text sizedecrease text size If this were 1994, Broadway producers would be all over Dennis DeYoung's musical version of "The Hunchback of Notre Dame." Hire somebody to write a new, richer book, they'd be saying. Find some hot designers. Seduce some star names. But whatever you do after this rough-and-ready outing at the Bailiwick Repertory Theatre, keep those brooding power ballads and thrilling melody lines. Very few composers can write such seductive hooks. And the theater needs 'em all. But time has moved on. Broadway is no longer in the thrall of throbbing, gothic tales set to grandiose rock-pop scores, but prefers more glancing, ironic fare. And so, I fear, it felt on Monday night like the moment has passed for DeYoung's "Hunchback," even though the joint was suffused with infectious musical passion and DeYoung's soaring, populist score is surely the equal of any of the Frank Wildhorn creations that made millions in the 1990s. Even in the best of prior circumstances, the show would have needed a lot of work. The book is barely a book—the central character of Quasimodo remains an elusive, underwritten figure. Even in this simplified version of the Victor Hugo novel, you don't see the moment where the priest Frollo falls in love with Esmerelda, nor do you feel the growth of Quasimodo's love. The overall romantic mood of the piece is compromised by some tacky comedic dialogue ("Why don't you go back to Egypt where you belong?" "Phar-enough?"). And there's no sense of the majestic, metaphoric sweep that made "Les Miserables" such a phenomenon. To call David Zak's heartfelt production a mixed bag does not adequately describe its contrasts. Aided by an enhanced sound system, a six-piece band and several Equity contracts, some of the singing is spectacular. And in the person of George Andrew Wolff, there's a powerful lead performance. Given the hump and the lack of characterization, there were a million ways for Wolff to camp this up. Instead, he offers a moving take on this reclusive fellow and belts his problems to the rafters. As Esmerelda, Dana Tretta stuffs her heart into her mouth and gives it her considerable all. And although not ideally cast, James Rank brings his usual humanity and vocal integrity to the role of the soldier Phoebus. But some of the growling ensemble work is about as subtle as a kick in your bad teeth. And as the tortured guardian of Notre Dame, the typically impressive Jeremy Rill seems lost in the belfry, reduced to ringing his hands and wandering awkwardly. The setting—platforms and a couple of projections—is so limited that you wonder, at times, if this endeavor would not have been better served as a concert staging. Certainly, there's no real choreography, even though the capable Brenda Didier is on hand. But if you just want to hear DeYoung's great music, this show mostly delivers. The top-notch signature ballad, "With Every Heartbeat," is performed in bravura fashion. So is the moving "Esmerelda." And I'm very fond of "Who Will Love This Child?" DeYoung's fans will be impressed at the care taken here with their man's compositions and the passion and sincerity behind their musical expression. In ideal circumstances, someone would come up with the ideal new vehicle and partners for DeYoung to compose for the stage. He could help put Broadway back in touch with some of its hardest-working customers. cjones5@tribune.com "The Hunchback of Notre Dame" When: Through July 6 Where: Bailiwick Repertory Theatre, 1229 W. Belmont Ave. Running time: 2 hours, 15 minutes Tickets: $25-$45 at 773-883-1090 More articles Get Chicago Tribune home delivery and save big. Copyright © 2008, Chicago Tribune Would you recommend this? I do agree, to an extent, that those kinds of musicals are not much in vogue today. Especially on Broadway. However, there is a place for something with music this beautiful. The reviewer sort of indicates that as well. I sure don't agree about Jeremy Rill. He was wonderful. This production was, on a small scale, the perfect inheritor of the grand tradition of sweeping Broadway musicals. I am still unwavering in saying this score rivals ANYTHING written by Mr. Weber and a myriad of other Broadway composers. The melodies are simply some of the best out there. And I disagree that they are past their time. There is a place for something as dynamic as DDY's HB. Quote Link to comment Share on other sites More sharing options...
ladybugking Posted May 21, 2008 Report Share Posted May 21, 2008 I posted a comment. Any of you who have seen it -- it would be nice to have your feedback as well. I think those who read the review might like to hear a bit of a different take from the comments. Quote Link to comment Share on other sites More sharing options...
LisaMarie Posted May 21, 2008 Report Share Posted May 21, 2008 te name='ladybugking' date='May 21 2008, 10:01 AM' post='5837']I posted a comment. Any of you who have seen it -- it would be nice to have your feedback as well. I think those who read the review might like to hear a bit of a different take from the comments. I was there Monday night and thought the show was brilliant. This reviewer seems to have missed something that is key. This story is about Frollo's decent. So it would make sense that while in other interpretations of this classic tale the other characters may have more focus. The transitions of Frollo were very well thought out and acted with perfection. Being a huge fan of Dennis' voice a concern of mine was who could possibly sing those powerful songs other than him? The singing talent was tremendous....especially with regard to the part of Frollo. One could clearly see the strength and eventual torment portrayed by this fabulous actor and the progression therein. I was captivated from the very first word. I was moved to tears. I laughed, I was breathless at times. Yes, the setting was modest, but to me that just magnified the strengths of the actors and the words that they spoke and sang. I seriously forgot that there were no set changes, no physical props such as furniture or backdrops on the stage. The direction the actions on stage made me feel I was in different places at different times. That truely says something. I am fortunate enough to live near the city of Chicago and absolutely intend on returning to the theater to see this play. There is not a bad seat in the house. Quote Link to comment Share on other sites More sharing options...
LisaMarie Posted May 21, 2008 Report Share Posted May 21, 2008 (edited) I just wanted to add a few more reviews that express the way I feel and what the many others present that night thought about this play.... http://www.chicagocritic.com/html/the_hunc...notre_dame.html http://www.suntimes.com/entertainment/weis...Hunch21.article Thinking about starting another thread for these ..... Edited May 21, 2008 by LisaMarie Quote Link to comment Share on other sites More sharing options...
mendelstyx Posted May 21, 2008 Author Report Share Posted May 21, 2008 I also left my comment. The reviewer makes the wrong assumption as to who the main character is. It is NOT Quasimodo, but rather Frollo. I really am looking forward to seeing it again and will make the journey again from Southern Illinois. You can also add your comments here (the author of the review gave me this link to post to as well) http://leisureblogs.chicagotribune.com/the...hback-hits.html Quote Link to comment Share on other sites More sharing options...
Ron Posted May 22, 2008 Report Share Posted May 22, 2008 Being a huge fan of Dennis' voice a concern of mine was who could possibly sing those powerful songs other than him? After hearing what the current incarnation of his previous band sounds like performing his songs, and the tribute albums that don't quite cut it, it could probably be said that the only person capable enough to sing in place of Dennis is Eric Cartman. But the material written for Hunchback--unlike his other compositions--were written with the intent of someone else singing them. After all, things could get confusing with him playing all of the different parts. With this in mind, I was able not to have any major expectations on the vocal performances. The actors did an outstanding job of bringing out the emotion of each musical piece in both their singing and their body language. But I still would not want to hear them sing "Babe" Ron Quote Link to comment Share on other sites More sharing options...
LisaMarie Posted May 23, 2008 Report Share Posted May 23, 2008 After hearing what the current incarnation of his previous band sounds like performing his songs, and the tribute albums that don't quite cut it, it could probably be said that the only person capable enough to sing in place of Dennis is Eric Cartman. But the material written for Hunchback--unlike his other compositions--were written with the intent of someone else singing them. After all, things could get confusing with him playing all of the different parts. With this in mind, I was able not to have any major expectations on the vocal performances. The actors did an outstanding job of bringing out the emotion of each musical piece in both their singing and their body language. But I still would not want to hear them sing "Babe" Ron In fairness.....this was what I said..... "Being a huge fan of Dennis' voice a concern of mine was who could possibly sing those powerful songs other than him? The singing talent was tremendous....especially with regard to the part of Frollo" Quote Link to comment Share on other sites More sharing options...
Ron Posted May 23, 2008 Report Share Posted May 23, 2008 LisaMarie, I don't think I was (or intending) to contradict you, I just wanted to share my opinion on this matter, as there have been others that have adimately stated that no one should sing Dennis' songs but Dennis. While I agree with this thought for most of his music (just listen to the Styx tribute albums, or worse, the Styx-without-Dennis version of Babe performed in Japan) I never had these reservations about any of the Hunchback material. Amrick Byram's rendition of "Who Will Love This Child" performed at the Rosemont Theater four years ago was outstanding. I hope I'm not being incoherent, as I came back home to a very busy week at work and still not quite with it. Ron Quote Link to comment Share on other sites More sharing options...
LisaMarie Posted May 23, 2008 Report Share Posted May 23, 2008 it was kind of brought to my attention....wanted to be sure I was clear too in what I said....didn't want to get into any trouble Quote Link to comment Share on other sites More sharing options...
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