The Hunchback Of Notre Dame

The Hunchback of Notre Dame has always been something of an enigma in the Disney theatrical canon. While it boasts a rich, complex score by Alan Menken and Stephen Schwartz, it never quite reached the dizzying heights of its predecessors like Beauty and the Beast or The Lion King. That said, Workington Amateur Operatic Society’s latest production proved to be a bold and ambitious undertaking.

The choral arrangements are arguably the backbone of this show, and under the expert guidance of musical director Liz Condron, the ensemble delivered a powerhouse performance. From the opening notes of The Bells of Notre Dame, the choir set the tone with a thrilling sound that reverberated through the Carnegie Theatre. Their precision and intensity were unwavering, a testament to the hours of rehearsal required for such a demanding score.

Andrew McMinn took on the challenging role of Quasimodo with sensitivity and heart. His rendition of Out There was beautifully sung, but unfortunately, a rogue lighting cue left him in darkness during what should have been his defining moment. It was a shame, as it slightly undercut the emotional impact of the scene.

Jasmin Smith brought a grounded and sincere presence to Esmeralda. She navigated the songs with professionalism and grace, particularly in the poignant God Help the Outcasts.
 
Andy White’s Phoebus was a strong counterpart to Jasmin's Esmerelda, and the Act Two duet, In a Place of Miracles, was one of the evening’s highlights—a tender and spellbinding moment that lingered long after the final note.

The most memorable performance of the evening for me was Kim Brough as Clopin. Enigmatic and captivating, she instilled the character with energy and charisma, ensuring Clopin’s moments resonated powerfully with the audience. Kim's performance brought a vibrancy to the production, often elevating the ensemble numbers with her commanding presence.

Technically, the production was incredibly polished. The lighting design was atmospheric and very effective. The composite set design by Andrew McMinn & Tony McGee was a triumph, successfully capturing the haunting and majestic ambience of Notre Dame, the trap added downstage was a nifty touch as well! The sound balance between backing tracks and vocals was well-managed and the costumes all looked the part.   Director Tony McGee did a terrific job tieing together all these elements resulting in a really slick production. 

The commitment of the cast and the strength of the choir ensured the production had both its poignant and thrilling moments. With word of mouth, I hope the show found a larger audience as the week progressed, as it was a worthy showcase of the local talent and their ability to tackle such a challenging piece.  Quite frankly those that missed it – missed out!

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