The Hunchback of Notre Dame

The St Mary’s Parish Church, St Neots, provided a stunning backdrop for VAMPS’ latest production of "The Hunchback of Notre Dame." Known for their technical prowess, VAMPS did not disappoint with this show. The stage was ingeniously erected in the centre of the church, flanked by LED display screens that formed both the back wall and the proscenium arch.

Throughout the performance, these screens transported the audience from one location to another, showcasing scenes from the top of Notre Dame with Quasimodo’s bells to the bustling town and inns below. The graphics, meticulously programmed by technical directors 1ONE0, originated from Notre Dame itself, adding authenticity, depth and movement to the visual storytelling. Even during the matinee, despite some visual effects being less pronounced due to daylight creeping through the church windows, the technological feats were undeniably impressive, emphasised by an equally thoughtful lighting rig. I’ve seen amateur groups use the display screen effect before but typically just on the back wall. To also have the proscenium arch too, both working in harmony, added such depth. Hats off to 1ONE0 for their remarkable contribution to this feature.

The show commenced with fourteen choristers positioned through an opening in the back wall and a fourteen strong cast parading solemnly down the central aisle in dark cassocks, their Gregorian chant echoing through the church’s natural acoustics—a powerful start indeed. The clever staging had all the main characters doubling up as saints in cassocks as well as the ensemble, discreetly shedding their cassocks behind the action to reveal their character costumes or becoming a gypsy or other cameo roles, adding an element of surprise and intrigue.

Emily Wainwright-Meekins (musical director) deserves commendation for her work with the ensemble; the harmonies, blending seamlessly with the choir, created a rich and immersive soundscape. All the ensemble and choir provide amazing vocals and in every cameo role, individual characterisation and vocal talent shone through. The choreography by Emma Driscoll was wisely kept simple, accommodating the limited space. Both Jenny Bane and Jen Nicholls, the principal dancers, stood out in all the chorus numbers. Their compelling stage presence and captivating movements consistently drew the audience's eyes, making their performances a highlight of the show.

Tom Kirkbride’s depiction of Phoebus de Martin was imbued with the bravado and self-righteousness characteristic of the pompous soldier. While his vocal style was apt for the character, it did result in some tuning issues on the higher notes. Opposite both Phoebus de Martin and Quasimodo was the young Esmeralda, portrayed by Olivia La Roche. Her standout moment undoubtedly came with her rendition of “God Help the Outcasts,” such a powerful and heartfelt vocal, which elicited one of the show's loudest rounds of applause. For such a young talent, Olivia is one to watch.

Dean Ansell’s portrayal of Quasimodo was a masterclass in understated brilliance. This role, often at risk of becoming a mere caricature, was handled with exquisite care by Ansell. His depiction of Quasimodo’s simple innocence was heart-wrenching, drawing the audience's empathy with his hunched stance and radiant smile amidst the heightened action. Ansell’s impressive vocal performance, delivered from the back of his throat, added depth to his character, showcasing a remarkable range from dialogue to song. However, I was not a fan of the stylised make-up used to disfigure his face; a well-crafted prosthetic may have better served the visual authenticity of the character.

The tour de force of this production was undoubtedly Dom Claude Frollo, portrayed by the baritone Wolfie Hammerbacker. Hammerbacker’s voice was nothing short of magnificent, effortlessly conveying the deep emotional turmoil of his character. He masterfully captured the frustrations of Frollo’s past, the tender love for the disfigured Quasimodo, and the intense internal conflict between his devout religious beliefs and his forbidden desire for Esmeralda. Each emotion was delivered with palpable intensity, making his performance a standout. Bravo Sir!

This production was genuinely exceptional in nearly every aspect; however, the sound was a problem. Typically, I can overlook minor technical mishaps - microphones activated late or a bit of feedback. This performance had so many instances where microphones were turned on too late, causing crucial plot points to be missed. Additionally, the backing tracks sometimes drowned out the vocals in the larger chorus numbers. While I understand the challenges of balancing digital acoustics with the church's natural acoustics, the inconsistent microphone management was disappointing.

Despite the sound, this production was genuinely a standout of the season to date overall. RaeAnna Hammerbacker should be immensely proud of the entire cast and production team for delivering one of the most impressive shows I have seen in recent months. Their dedication and talent were evident throughout, making this an unforgettable theatrical experience. Despite the sound, I loved this production and would have loved to have seen it more than once!

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