The Hunchback of Notre Dame

The Victor Hugo story of the tortured hunchback of Notre Dame has always fascinated - I remember the Charles Laughton black and white film very well and it always made me sad - what I didn't realise until I saw this musical version was how relevant the issues raised in the story would still have repercussions to this day.

To choose this musical, it takes guts and determination - it is big and bold - I so admire Leeds G&S in their choice to present it at the Carriageworks. Of course,it has to be said that the driving force here was the Drector/Choreographer, Anita Adams - her personal style was stamped all over the piece. Along with the excellent Musical Director, Adam Boniface and his orchestra, they were on to a sure-fire winner.

The story begins with the bells of Notre Dame ringing out over Paris - working on a brilliant, gothic set, the ensemble mingles and the story unfolds - briefly, the deformed Quasimodo has been taken in by the cruel Archdeacon Frollo who takes him up to the bell tower to hide him from the outside world - Quasimodo rings the bells and speaks to the statues and gargoyles as his only companions. When travelling gypsies descend on Paris, he befriends Esmeralda and joins her and the Parisian crowds in the street against Frollo's wishes - it doesn't end well, as you can imagine - the crowd make fun of his disabilites. Esmerelda falls in love with Phoebus, the Captain of the Guard at Notre Dame - but she still tries to protect Quasimodo  and shows him great sympathy. Frollo hates the way he is losing power over Quasimodo and arrests Esmeralda for being a gypsy and a witch - she is about to be burnt at the stake, when Quasimodo rescues her - however, she has been mortally affected by the fire and dies - Quasimodo pushes Frollo off the parapet and remains with Esmeralda's body in the crypt - eventually dying with her. This is a very brief summary of the story - there are many other twists and turns - it is epic and totally absorbing.

The role of Quasimodo fell to Kristian Cleworth - this young man was brilliant in his portrayal of this sad human being - he was rarely off stage and he captured the character very well without caricature. He had an impressive vocal range and clear diction. Niki Hosker, as Esmeralda, was so believable in her portrayal of the gypsy girl - again with excellent vocals and diction. The lovelorn Captain Phoebus was perfectly interpreted by Phil Boothby, as was the Archdeacon Frollo, played by Richard Pascoe. Richard loves playing villains and this character was no exception - he relished the mix of religious beliefs and sexual repression.

Three characters made a great impression on me - they were the 'gargoyles' - (played by Joe Smith, Amy Rout and Matthew Oglesby) - they related to Quasimodo by being his 'inner voice' - here I must add that the entire cast had learnt sign language - it must be remembered that Quasimodo was deaf from living in the bell tower. In her programme notes, Anita pointed out that sign language was not invented in medieval times - but she felt it gave a contemporary feel to the story and this was so effective, I was very conscious of the impact this made to the production.

There were many characters and may I say, these were played with major impact - Matt Stirk as Clopin, King of the Gypsies, Warren McAndrews as St. Aphrodisius, Phillip Reuben as Jehan Frollo, Quasimodo's real father; Emma Smith as Florika, Heather Pennwood as the Nice Statue, Scott Pennwood as the Other Statue (they may have remained stationary, but remained beautifully in character whilst being moved on and off stage!), Tom Daley as Father Dupin and Emma Kennedy as Madame - these characters were all played to perfection. There were also listed in the programme as 'Unsavoury Elements', actors (may I say actresses) - who fulfilled their roles with energy and vigour - it reminded me somewhat of Les Miserables ensemble - all excellent.

As I glanced around the theatre, I was surprised to see hooded, monk-like figures in the balcony - these were the 30 piece 'Choir of Notre Dame' and they sang the religious parts of the score, also backing up the on-stage performers - what a dream team! Their singing was superb and played an essential part of the show.

And now to the creatives - I have already mentioned Anita's brilliant staging of this piece of theatre - it is hard to imagine that this musical was originally developed by Disney Theatrical Productions - this was a long way from Mickey Mouse! - but with a score by Alan Menken, lyrics by Stephen Schwartz and book by Peter Parnell, Anita so effectively took us from Leeds City Centre to Paris and evocatively drove her cast to do the same - what vision she has and always knows theatrically what to give her audiences. Adam conducted his orchestra impeccably with brilliant young musicians. I heard every word from the performers - they had been well rehearsed in their individual and concerted numbers and their diction was spot on.

Back stage was an army of skilled but unpaid workers to support the actors on the stage: Tom Mitchell (Repetiteur), Matt Stirk (Production Manager), Paul Myers (Stage Manager), (the last two gentlemen were responsible for set construction, along with Dan Speight - magnificent). Simon Futers (Backstage suport), Anita Adams and Matt Stirk (Set Design - amazing), Lighting and Sound Design (Chris Newsome and Aly Howe), Judith Huntley assisted by Emma Stirk and Gillian Young (Costume), Judith Smith and Matt Stirk (Props), Emma Kennedy and Amy Rout (Publicity), Matt Stirk and Matthew Oglesby (Graphics), Matthew Oglesby together with Simon Futers and Jason Weightman (Photography), Scott Pennwood, Becky Barwick and Katie Lister (Programme) - and last, but by no means least, Richard Naylor (Front of House Manager) and his team - all deserve a tremendous round of applause!

It only leaves me to offer Leeds G&S my warmest and heartfelt congratulations on a superb, professional production - Victor Hugo would have been mightily proud!

 

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