The Hunchback of Notre Dame

For those who are not familiar with the musical adaptation of the classic 1831 gothic novel by Victor Hugo, this musical premiered in 1999 in Berlin as Der Glöckner von Notre Dame ("The Bellringer of Notre Dame"). It was produced by Walt Disney Theatrical, the company's first musical to premiere outside the U.S.  This English-language version with a revised libretto had its debut at La Jolla Playhouse in San Diego, California on October 28, 2014.  

Having not seen the show before, I was a little nervous that a Disney adaptation may pull its punches, but through a combination of well paced direction, both on stage and from the pit, I had nothing to worry about as this Nottingham Operatic interpretation focussed on all aspects of the essentially dark tale bringing a deft performance full of light and shade for principals, narrators and ensemble alike.

The narrative of Hunchback was the first thing that struck me.  Rather than just being a two-dimensional interpretation, it is written from a number of interlacing perspectives of the principal characters.  This included the paternalistic, sexually repressed Dom Claude Frollo, the generous and fiery Esmerelda, the almost harlequinesque Clopin Trouillefou, the soldier of principal Captain Phoebus De Martin and the emotionally naïve, Quasimodo, the gentle giant driven to extreme violence only when betrayed and provoked beyond endurance by his master and the people of Paris.

It would be invidious of me to single out any single individual performance of the five key principals as in their own way they made their characters very three dimensional and even without the early life story of Quasimodo, brought with them a well developed internal back story from their first entrances. 

Simon Theobald was in impressive voice throughout the evening, and, more importantly for me, succeeded in making Dom Frollo a character you could have sympathy with and not a clichéd evil cleric.  The multiple motivations and the conflict they created in his mind were evident throughout which made this portrayal so fresh and believable.  Zak Charlesworth again was in excellent voice throughout the performance.  His acting brought out the vulnerability, devotion and also the snap into violence of his character driven by the ultimate betrayal by those he had trusted to protect him during his short life.  He didn’t overplay the physical deformity of his character but used that as just one dimension of his characterisation and this made his acting performance all the more impressive.  Chris Grantham was in excellent form both vocally and acting as Clopin. In every scene he was involved in he drove forward the narrative.  Although appearing to be a light hearted “Jester” on the surface Chris brought out the inner steel of Clopin in his dogged determination to protect his extended “family” of petty thieves, prostitutes and people having to live lives on the street. Sarah Thompson and Richard Groves both fully inhabited their characters providing a believable relationship that although was one of the elements that tipped Quasimodo over the edge, was in itself a believable result of two people being thrown together in violent times.

This show is not all about the five leads and would fall if there was not a suitably talented supporting cast and expert direction.  Once again, Nottingham Operatic delivered.  Andrew Miller produced a superb show from Principal delivery, through movement of the many supporting characters and many choral static set pieces.  The Narrators were all on fine form both vocally and in their delivery to the audience explaining the movement in the narrative and the passage of time.  The cast in “Small Character Roles” all played their parts to ensure the overall performance was the success it was, as did the members of the Gallery of Kings and Queens Choir, Booth Choir and Ensemble.

Throughout the night it was obvious that the vocal precision of principal and ensemble alike, the warmth and power of the choral highlights and clarity of diction from all was the result of hours of work from the cast driven by MD Morven Harrison.  I could hear in every bar the passion she had brought to the production and, together with her talented orchestra, brought out every musical highlight giving the on-stage performers the perfect soundscape to shine.

Turning now to the setting of the show.  The Nottingham Theatre Royal is a huge space which provides a challenge for Community Theatre companies in many respects from costume and lighting, to sound and set.    The set from Scenic Projections was not the star of the show (the cast were), but provided an incredible backdrop that was lit superbly throughout by Tom Mowat and the Theatre Royal team.  Costumes, expertly wrangled by Linda Croston, from Charades ensured the many set piece “Tableaus” were visually stunning. The Gargoyle Puppets from Promotional Props & Costumes were used to great effect and the sound balance between pit and stage were always expertly handled.

A very enjoyable night at the theatre – so thanks and congratulations to all.

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