‘The Song is King’ in Dennis DeYoung’s ‘Hunchback of Notre Dame’

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The Hunchback of Notre Dame is Victor Hugo’s 1831 classic French Gothic novel detailing the twisted, obsessive relationships among Archdeacon Claude Frollo, the beautiful street dancer Esmeralda and the famous cathedral’s bellringer, the physically deformed Quasimodo, the “Hunchback” of the title.

Hugo wrote the novel in response to the famous cathedral’s disrepair at the time. Over 130 years later, this story ironically parallels work currently being done today on Notre Dame given the massive fire which caused extensive damage on April 15, 2019.

Hunchback has been made into a number of movies, including Disney’s 1996 animated version. Next stop? The musical version. Hunchback was first produced at the Tennessee Rep in Nashville in 1997 and then again at Chicago’s Bailiwick Theater where it won a 2008 Joseph Jefferson award for Best Midsize Musical.

Now, it’s playing at the Skylight Music Theatre in its final offering of the season. The show’s writer and composer, Dennis DeYoung of the classic rock band Styx explained his long-term vision for the musical, how he adapted the classic 1800s novel and created a contemporary pop score:

How did you come to be associated with this production? Was it your idea? Did other producers or directors approach you about the collaboration?

My interest in creating a musical version of the Victor Hugo classic began in 1993 while I was performing in the national touring company of Jesus Christ Superstar as Pontius Pilate. I got the part because my sister-in-law Dawn married Forbes Candlish, the show’s executive producer, in 1992 who offered me the job. So my advice to aspiring Broadway actors is to get a brother-in-law who’s a producer. Until then I hadn’t considered doing anything on Broadway. I was just a Chicago kid with an accordion, Beatle-dreaming.

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Michael Unger, Skylight’s Artistic Director and I have been friends since 1994 when we first met by chance outside of Steppenwolf Theater where Michael was then working. We became friends and vowed someday to do this musical together and that day came two years ago when we agreed to do it at the beautiful Skylight Music Theatre.  

How did you concept the music and lyrics for the show?  For example, watch the movies? Read the book?

I knew the 1939 [Charles] Laughton movie version and then proceeded to read five translations of the original novel. I finally found one in English which sped up the process considerably. Yes, that’s a joke

Does your own solo/Styx works play a role in creating the music? If so, how specifically?

The music I created for Styx was always written specifically for the five guys who would perform it. With this musical there were no musical boundaries; I was not obliged to meet a fan base expectation, so it was very freeing. Suddenly, the musical palette was unlimited. Although I avoided puce and burnt sienna. 

While many people are familiar with the classic film and Disney movie as well as the book, is there anything that’s different/changed in this musical adaptation? If so, what specifically?

I rewrote the story using Hugo’s fascinating characters and backdrop to tell a slightly different story while staying true to Hugo’s novel. The priest Frollo became my central character as we follow his journey from young, well-intentioned priest to his descent into obsession, murder and madness

I changed the text and introduced some characters not in the novel to inform the story I wanted to tell. I’m still waiting to hear from Vic’s legal team. Specific changes are Quasimodo plays football in South Bend and Frollo moonlights as a Parisian mime. Fake news. Come and see the show and if you don’t like the changes I’ve made, Michael Unger will buy you a new Tesla … more fake news. Ok, it’s starting to get silly now. Read on If you dare

What, if anything surprised you about creating a musical score for the theater? Is it what you thought it would be once you started the process?

The song is king and always will be. It’s a musical not a playsical. Write a great song and people will come to the party you’re throwing because music is magic. Too much modern musical composing has forgotten this simple formula. It’s the song, stupid. And don’t forget to cast some great singers and this Hunchback production certainly has them in spades. 

Once you had completed the score, and reflect back on the process, what do you think you’ve learned from working in musical theater? 

Creating a musical is the most difficult and challenging endeavor in all of entertainment. It brings together music, story, choreography, lighting, sound, costume, scenery, etc. all in real time and must somehow convince the audience there’s a good reason for those actors to be singing. That’s why so few succeed on all levels; they’re really hard. Add the cost element and the myriad of people that must come together, most for the first time and then all work in collaborative harmony is daunting. I think I just talked myself out of doing this. Seriously it’s an exhilarating challenge that I have embraced more than once. I also wrote the score for the Jerry Zaks’ production of 101 Dalmatians. 

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When I first did Hunchback in ‘97 I thought I knew plenty, I did not. I have learned many valuable lessons from others I have worked with over these last three decades. I owe them all a debt of gratitude. Which is a lot cheaper than cash. One lesson specifically is never leave your wallet in the dressing room. Thanks to George Burns for that. Told ya’ it’s getting silly

Is it something you’d like to try again? If so, are you working on anything currently? Planning on anything in the future?

Starting another musical at my age would be overly optimistic considering the time involved in their development. Truthfully, I believe this show is the greatest musical work of my life and I’m not just saying that, I really mean it. I know exactly how I wrote Come Sail Away, Babe, Lady, Best of Times, Mr Roboto and others but when I began writing this score it was as if someone smarter and more talented than I was doing it. Sound corny, it’s true. This show is quite an emotional experience for me and I hope for the audience as well. 

Am I planning on anything in the future? Well, I still have a good day job pretending to be a rock star so that’s nice. But the last two years have taught me this … less hubris and more humility for all of us would be a good thing. And be careful with your plans ... the universe is waiting

Anything else you’d like to add?

Beginnings are easy, endings are hard in art as in life.  And this

show has what I believe to be a real humdinger. 

Thanks to Uncle Vic [Victor Hugo] for creating the text that I could paraphrase to bring down the curtain. So tragic and yet so hopeful. 

The Hunchback of Notre Dame runs May 20-June12 in the  Cabot Theatre at the Broadway Theatre Center, 158 N. Broadway, Milwaukee. For more information, call the Box Office at: 414-291-7800, or visit: skylightmusictheatre.org