The Hunchback of Notre Dame

To the Palace Theatre for Redditch Operatic Society’s annual show, which this year was the musical version of The Hunchback of Notre Dame.  Developed by Alan Menken and Wicked’s Stephen Schwartz, the show has immediate origins in the 1996 animated Disney movie.  But if anyone had come to the theatre expecting to see a brightly coloured, knockabout affair, with jaunty music and comedy sidekicks, they’d have been wrong… 

The production had a sombre, serious tone from the start, as the curtain opened onto a stage crammed with chanting monks – the first of a series of complex musical numbers that were well sung by the large chorus.  This was a very striking opening, effectively lit to bring out the drama and making good use of the multi-level set. 

As the story began, we met brothers Jehan and Claude Frollo (Matt Brown and Matt Bridgewater), whose stories quickly diverge with Claude progressing in the priesthood whilst the feckless Jehan runs off with a gypsy girl (Lucy Traves), only to return some years with a baby in tow.  After Jehan’s death, Claude somewhat reluctantly takes in his child, who he names Quasimodo – half formed – in recognition of his deformities.  Dom Claude becomes the villain of the piece, and Matt Bridgewater brought a sneering authority to the role.  As the play progressed and Frollo became ever more desperate, he brought to mind Alan Rickman’s famous turn as the Sheriff of Nottingham.

Time then skipped forward, and we met the grown-up Quasimodo, capering around the bell tower and – just to add to his problems – half-deaf from their incessant clanging.  Daniel Tomson was a fairly mature Quasimodo, not quite the young lad as which he was often described.  The role was very well sung, with the long held notes so beloved of the composers impeccably delivered, and acted – conveying a real sense of naivety and wide-eyed innocence.  The physical challenges of the part were also very well met. 

Laura Woodall made a striking first impression as the gypsy dancer Esmerelda, whose destiny was entwined with that of the Hunchback.  This was another strong performance, full of verve and emotion, transmitting a bold gypsy spirit.  It easy to see why both Quasimodo and Frollo would become obsessed with her.  Paul Mitchell played Phoebus, the fourth part of a sort of love quadrangle, with a confident swagger, effectively charting the character’s journey from Frollo’s enforcer to his implacable enemy.  The compact principal cast was completed by Ryan Allen-Rose as Clopin, the gypsy king, whose initial chumminess was replaced by a steely resolve as rebellion breaks out.

The principals were well supported by a large ensemble, including a group of gargoyles with which Quasimodo shares his thoughts, and a large cohort of Parisians, Congregants and Gypsies.  A choir provided further depth to the sound from time to time.  The complex music was well tackled, with some lovely harmonies shining through, and the performers did a great job of filling their various roles, with many switches of costume. 

A 10-piece band, under the expert control of Musical Director Joe George and his assistant Scott Woolfenden, did not put a foot wrong.  Director James Baldwin made good use of the compact Palace theatre space, although at times it seemed there were almost too many people crammed on stage for comfort!  The work of Choreographer Paula Lacey really came to the fore in the gypsy scenes, which were full of colour and movement.

My congratulations to Wardrobe Mistress Jean Chalk and her assistant Claire Wilson, who did a superb job in fitting out the multiple roles portrayed by the large cast.  A word here for the portrayal of the headless Saint Aphrodisius (played by David Charter), which was very well depicted.  Sound and lighting were also expertly handled by the ROS backstage team – I thought the scenes in the bell tower were particularly well lit, really enhancing the atmosphere as Quasimodo headed towards his final, dramatic confrontation with Frollo. 

My thanks to all at Redditch Operatic Society for the warm welcome and congratulations on another high quality production.  I’m already looking forward to next year, when the group will be producing the regional premiere of a new version of A Christmas Carol. 

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