REVIEW | Notre Dame de Paris, Palais des Congrès

Written by Laura

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Notre Dame de Paris celebrates its 25th Anniversary by returning to its original home, the Palais des Congrès in Paris, after successful runs in the West End, China, Broadway, Canada, and other international stops. Written by Luc Plamondon with music composed by Richard Cocciante, this musical has been adapted into 10 different languages since its premiere. Italy hosts what is arguably its most successful non-French production. There is also a DVD available featuring the 1998 French cast with English subtitles.

The show is, of course, based on Victor Hugo’s 1831 novel. It is most certainly not an adaptation of the Disney movie, so please be aware that there is violence, sexual themes, and death in this. Its premise is widely known, which makes the musical very easy to follow even for non-French speakers.

The set is undeniably spectacular. A colossal wall dominates the stage, representing Notre-Dame, featuring movable windows and doors in which action takes place, even allowing characters to climb it. Enormous pillars move seamlessly throughout the stage, with gargoyles atop them. Aside from these elements and some other props, the stage remains mostly bare, offering more space for the dancers who breathe life into the performance. Their energy and commitment contribute to a visually stunning spectacle. It is important to note that the main cast does not dance – except for Esmeralda – a common characteristic in French musicals, so there is a big ensemble of dancers to make up for that.

French musicals often diverge from West End or Broadway conventions. The narrative revolves entirely around the songs, with little to no dialogue in between them. Typically released as singles before premieres, these songs tend to gain popularity prior to the show's opening. In this case, since Notre Dame de Paris has been around for so long, the tunes are well-known and very loved by French audiences. You get to sing with the main cast after the vows, so definitely try to learn “Le temps des cathédrales” before you get there for the full immersive experience!

There is a reason why the score is so loved by the audience. There are some breathtaking ensemble numbers, but real gems are the solos delivered by the incredibly talented cast. Daniel Lavoie, who originated the role of Frollo in 1998, delivers a consistently outstanding performance, and has perfected the character's descent into madness over the years.

The entire main cast excels vocally. Special mention goes to Hiba Tawaji as Esmeralda and Gian Marco Schiaretti as Gringoire. Hiba does a wonderful job of highlighting Esmeralda’s innocence and playfulness, both in acting and singing. Gian Marco tackles the vocally challenging songs of Gringoire flawlessly; his “Lune” almost moved me to tears. It's worth noting that the instrumental accompaniment is pre-recorded, but that doesn’t really take away from the experience in any way.

Costumes received an upgrade around 2016 but bear strong resemblance to the original 1998 designs. Each character has a signature color, which makes characters easier to identify in larger venues. However, I wish they’d taken a bit more of a risk when redesigning them. Seeing a 15th-century captain of the king’s guard in a white button shirt is a tad strange!

The show weaves in social criticism concerning marginalization, discrimination, and political asylum—a sadly relevant subject even today.

During the performance, I was a bit taken aback by the number of people openly recording videos, particularly during the iconic song "Belle." I found it very distracting as I could not focus on the performances with so many screens lighting up.

Notre Dame de Paris is a captivating story and has some of the most beautiful music I’ve ever heard, although perhaps I’m biased as this is one of my favorite musicals. I highly recommend this show to anyone, regardless of their proficiency in French.

★★★★★

Catch it at the Palais des Congrès until January 7th, 2024, or on tour soon after. If you can’t make it to Paris, the 1998 performance with subtitles is a great alternative!