love her forever, his ugliness will ensure that she will never love him ("Dieu que le monde est injuste"). Alone, Esmeralda hopes that she will survive for the man she loves and sings about how Love has the power to change the world even should she die ("Vivre"). With Clopin and his people occupying Notre Dame, Frollo orders Phoebus and his men to break sanctuary and attack the cathedral to drive them out ("L’Attaque de Notre Dame"). Clopin and his people resist bravely but are no match for the armed soldiers, and in the first attack Clopin is fatally wounded. Dying, he begs Esmeralda to take his place as leader. The final battle has Esmeralda and her people facing off against Phoebus and his soldiers, but the result is a foregone conclusion – Esmeralda is captured and the outcasts defeated. Phoebus coldbloodedly hands Esmeralda over to be executed, orders the outcasts driven out of Paris ("Déportés") and leaves with Fleur-de-Lys. Quasimodo, searching Notre Dame for Esmeralda, finds Frollo standing at the top of one of the towers and begs him to help Esmeralda ("Mon maitre, mon sauveur"). Frollo, finally driven insane, shows him the sight of Esmeralda being hanged and to Quasimodo's horror announces that he is responsible. As he laughs wildly, the enraged Quasimodo seizes him and hurls him down the stairs of the tower to his death. As the executioners are cutting down Esmeralda's body from the gibbet, Quasimodo appears and demands that they give him her body ("Donnez-la moi"). Driving them away, he kneels beside her body and mourns her, promising to stay with her and that even in death they will not be parted ("Danse, mon Esmeralda"). After the curtain call, Gringoire leads the cast in a reprise of "Le temps des cathédrales". Musical numbers 1These titles follow French-language capitalization conventions (sentence case / init caps instead of title case) 2English titles shown here are the title of the song in the English-language version of the production, and not necessarily a direct translation of the original song title. The show Director Gilles Maheu staged the show in concert style, with the principal singers standing downstage center, with non-singing dancers upstage. The orchestra and chorus were prerecorded; the principals wore very obvious boom microphones. Critical response in Great Britain Critical reception in Great Britain was mixed, with praise for the music and choreography, and general disdain for