Music Direction
CHARACTER ASSIGNMENTS IN THE SCORE Since there are several different ensembles (or combinations of ensembles) throughout the show, the libretto utilizes the following nomenclature to help you along the way. • Congregation: a troupe of storytellers, who serve as narrators; performers from this ensemble will become the principal characters, Gargoyles, Statues, Revelers, Soldiers, etc. • Congregant: solo member of the Congregation • Congregants: a small group from within the Congregation • Choir: a group of performers separate from the Congregation • All: both the Choir and Congregation singing together In addition, there are some actor indicators, such as M1 or F2, in the score. These assignments (short for “Male 1” and “Female 2”) were from the original production and can be used as a guide for assigning solos or they can be ignored altogether. Similarly, a solo may become a duet or trio, or vice-versa. As long as the storytelling is clear, the specific assignments are completely at the discretion of the director and music director. For more information, please refer to p. 9 of the Casting chapter.
THE CHOIR The Choir is an integral part of the show and should be treated more as a character than an extension of the orchestra. Your singers need both precision and versatility as they will be asked to sing in styles as varied as Gregorian chant (“Olim”), Broadway ensemble (“Topsy Turvy”), Wagnerian opera (“Hellfire” and “Kyrie Eleison”) and contemporary pop (“In a Place of Miracles”). If directing a high school production, when casting your Choir consider how your production can act as a bridge between your school’s theater and choral programs, strengthening each while encouraging collaboration between different student groups. Alternatively, any production can be an opportunity to partner with and learn about other performing arts organizations in your community. Depending on availability, you may choose to use multiple choirs, each participating in different performances, or one that is consistent throughout the run of the show. Whether you choose to cast your Choir as a separate ensemble or have your singers double as both Choir and Congregation, consider the following: • Will all Choir members (or choirs) rehearse together or separately? • Are all eight parts covered evenly at each performance? Do you have at least two singers per part? We suggest a minimum of 32 singers. • Where in the performance space will the Choir perform? Ensure that you have enough space to block your Choir; you may need to use your playing space (and perhaps your auditorium) in creative ways. • How will you ensure that all members of the Choir (and music directors working with them) are clear on pronunciations, tempi, and approaches to each song? If it helps your approach, you may choose to strategically rehearse the Choir separately from the Congregation until further into the rehearsal process.
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The Hunchback of Notre Dame Production Handbook