The Hunchback Of Notre Dame

This grand-scale musical based on Victor Hugo’s1831 novel and the 1996 Disney animated film, tells the story of Quasimodo, the hunchbacked bell ringer of the cathedral of Notre Dame. More than 20 major theatre productions 

have been staged down the years based on the storyline as well as five ballets. Never shying away from a challenge 

BOC secured the amateur rights to “Hunchback” in 2021 with rehearsals continuing since March 2022.

The static set from Scenic Projects was imposing and majestic, with rear upper walkway depicting the upper level of 

Notre Dame accessed by a staircase stage left and a wooden ladder SR, with a 13 strong choir partially hidden underneath. Lighting by ACK Productions was atmospheric and on cue with beautiful intersecting beams of light from above on occasion. Sound was also good, aided by good onstage diction. Costumes from Triple C were fresh and suitable for the period and all shapes and sizes! I loved the grey hooded ponchos which quickly slipped on and off to transform members of the Ensemble into ‘Gargoyles’, and the colourful sequined gypsy costumes.

Born to the deceased brother of `Archdeacon Claude Frollo, the deformed Quasimodo has been kept virtually captive

 in Notre Dame all his life. Abused and derided by his uncle, he longs to be part of the outside world. Played by Conor Anderson, his hunched back was cleverly depicted by use of a shaped sack and facial marks to indicate deformity.

Conor was totally immersed in the character he played as he lolloped around the stage, bent over but with speed and subtlety. He cowed and showed deference when addressed by Frollo and called him “Master” but, when with his 

friends the Gargoyles, showed his loving and hopeful nature although partially deafened by the constant bells. This 

was a real ‘Tour de force’ by Conor.

Quasimodo’s uncle and guardian – the religiously corrupt Frollo – was played by Boyd Rodgers with pious authority.

Battling with his inner morals and with rich baritone voice, he was an effective villain. David McCrossan took the role of Captain Phoebus, the new chief of the Cathedral Guards, who began by doing the bidding of Frollo but fell under the spell of gypsy dancer, Esmerelda. With strong vocals David defiantly opposed Frollo when the latter and he both sought the gypsy dancer’s affection. As Esmerelda, Naomi Smyth was a spirited dancer and related in different ways to the 3 men – to Quasimodo with kindness, Phoebus with sensuousness and Frollo with distain – all delivered well. Corey Magee was Clopin Trouillefou – the King of the gypsies. Full of charisma in dance and song, this young man shows great promise for the future (if he can find time away from the medical world!)

All the smaller roles such as Jehan Frollo, Florika, Madam, Father Dupin and King Louis X1 were well cast

 – the latter’s very small role made an impact with the only comedic moment in the whole show. I loved the ensemble of Gargoyles, all offering loving support to Quasimodo and with beautiful, harmonised singing including sign language at times to emotively emphasise Quasimodo’s deafness. As a dancing group the gypsies added a lighter touch to the serious themes of the story although their presence concerned racism and inclusivity. Their dances were graceful and passionate with typical gypsy tambourines. The huge Ensemble was constantly moving around the stage and their soring choral music was divine. Individuals stepped out from the Ensemble with short lines of narration or song - I just wish these had been lit so that they could be identified. As I was seated in the Stalls (my choice), because of footlights I unfortunately could not see actors’ feet, especially in the gypsy dances.

I have followed the work of Kerry Rodgers with smaller casts on smaller stages, but this was exceptional. She follows the “Frantic Assembly” method and her work on this piece is testament to those ideas. She drew excellent performances from the whole cast – I noticed that even Ensemble members were in acting mode when not involved in action. Well done Kerry! Tim’s Choreography was creative and emotional and very well-rehearsed.  Under the baton of Adam Darcy the large orchestra was well controlled and the music harmonies well taught.

Altogether a most impressive production and my thanks go to BOS for inviting me.

 

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