The Hunchback of Notre Dame

From its early beginnings in 1833 when Victor Hugo published his novel under the same title, Hugo himself actually disliked the title given its emphasis on Quasimodo’s physical differences. Since then there has been a silent film adaptation, a Disney animated adaptation and eventually in 1999 a stage production, followed by several re-writes. The theme behind the tale remains the same today; disability, inclusion, representation of women and the power of belief.

The musical begins as the bells of Notre Dame sound through the famed cathedral in fifteenth century Paris. Quasimodo the deformed bell ringer observes Paris revelling in the annual Feast of Fools, whilst being captive by his devious caretaker, the Archdeacon Dom Claude Frollo. Quasimodo escapes, only to be treated badly by all, except the beautiful Romani Esmerelda. He is captivated by her, but he is not the only one as Frollo himself, plus Captain Phoebus are too.

An instant atmospheric opening is created when during the prologue the ensemble enter from the audience singing with a background of a well-built set depicting two levels of the cathedral, the top level approached by stairs, one of which during the performance detaches and is moved to great effect to give the impression of greater height.  The atmosphere is further enhanced by some great lighting effects and the stage is set for the entrance of the five main characters .

The central character Quasimodo is superbly played by Josh Dibble. From his number ‘Out There’ and numerous numbers that follow, his emotional singing and acting are very impressive. Initially his guardian Frollo is caring towards him and protects him and Tom Paine provides an excellent performance in this respect as well as later when events change and they both meet Esmerelda . I particularly enjoyed his number ‘Hellfire’ which was excellent.

When Esmerelda, beautifully sung and acted by Ellisha Green, arrives in Paris, all the men fall for her. When Quasimodo escapes to witness the Feast and is treated badly by the crowd, Esmerelda is sensitive to what is happening and this along with further scenes with Quasimodo are all very well handled by Ellisha and Josh.

The new captain of the guard, Captain Phoebus was well played with a very natural manner by Reece Jones. He has fallen for Esmerelda and he and Quasimodo fought over who would rescue her, after a warrant is issued for her arrest. His desire to be with her is well expressed by them both in ‘In a Place of Miracles’. Jake Jones brings some good energy to Clopin, King of the Gypsies and host of the Feast of Fools, leading on several company numbers.  Throughout, The company singing including the Choir from Birmingham Voices, was powerful without exception and I particularly liked ‘Topsy Turvey’, and ‘Top of the World’ led well with feeling by Ellisha and Josh. Other moments well-handled are when Esmerelda is sentenced to death and Quasimodo saves her and Frollo is thrown from the roof.

The costumes too were excellent and the company must have had a busy time changing between congregant, gargoyle, Parisian and gypsy. In addition to the main principals, there were a number of minor roles each giving good support, including Beth Brown (Frederick), Wayne Atkinson (Jehan), Chris Paine (Dupin), Emma Parker (Frolika), Jill Little (Madame) and Melanie Brown (St. Aphrodisius).

KODS set themselves a challenge bringing this to the stage, but one they clearly proved could be met by the creative team headed by the imaginative direction of Chris Passey (Director and Musical Director), Joanna Tomkins (Creative Producer and Asst. Director) and Emily Hamer (Choreographer) and to their credit deserving of the full audiences they received. Congratulations to all involved and my thanks for the usual warm welcome.

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