One may try to resist the charms of
Notre-Dame de Paris, but when the musical is approaching a geographically
acceptable point, the invisible bugle calls, and time, money and even perhaps
company come out of nowhere, and all of a sudden here you are sitting in the
audience and your face is blue with the gleam from the stage light, and the
show is about to begin ...
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| ©Spectra Musique |
To
see a big picture one needs to step away from it. In order to
understand the role a concert tour played in a performer’s carrier one
needs to wait a couple of years after the tour’s ended. So, what exactly
was the J’écoute la radio tour? Now, 3.5 years later is the best time
to answer the question.
When I come to theater I am after some magic. What exactly do
I mean by magic? Well, a well-made solid production (or any art work for that
matter) usually fits the formula: 1+1=2, while the one with magic in it is more
like 1+1=6¿#dh7. In the new production of Notre-Dame de Paris the musical (NDDP)
I found exactly this kind of magic in Victor Hugo's story, Riccardo Cocciante's music, Hiba Tawaji's Esmeralda
and Daniel Lavoie's Frollo.
