The Hunchback of Notre Dame

This was my first experience of a production by this company and what a task they had set themselves in choosing to bring this particular show to the stage. They soon proved themselves more than capable of handling this difficult piece, with some fine singing to the backing of a superb 13-piece orchestra, with lighting, courtesy of Daniel Grey and Adam Kirkwood, sound and set design all of a similarly high standard.

For many of us the concept of the title character comes from the 1939 film in which Scarborough’s Charles Laughton played the role with the type of deformity suggested by the title.  Here, however, the emphasis is less on a physical disability, more on the character’s loss of hearing caused by living in the cathedral’s tower, deafened by his proximity to the bells, a condition which had also left him without speech. Jack James Fry superbly conveyed the horror of such a life, not only struck down by these disabilities but also a prisoner, forbidden to leave the building. His thoughts were conveyed partly by his use of BSL but also by his alter ego, Dan Poppitt, whose excellent diction and powerful singing voice were a delight to hear. The result was a perfect illustration of the misunderstanding of which we are often warned these days: “not all disabilities are visible”. As the song early in the show has it: “what makes a monster, what makes a man?”. 

Ayana Beatrice Poblete also gave a fine performance as the gypsy, Esmerelda, a character dressed in a red skirt reminiscent of Bizet’s Carmen, who endears herself not only to Quasimodo but also to Captain Phoebus of the Cathedral Guard and also to Archdeacon Frollo, Quasimodo’s guardian, tempted to ignore his vow of celibacy.  Robbie Wallwork made a good impression in the role of the former, whilst Jack Hooper was suitably sinister as the latter, the villain of the piece, another with a splendid speaking and singing voice. In lighter vein, I also enjoyed the performance of James Robert Ball as Clopin, partly a narrator, partly a leading member of the dance group in “the feast of fools” or supporting Esmerelda in “the rhythm of the tambourine”.  Always sprightly, occasionally acrobatic, his was a very spirited performance. These numbers brought much-needed action and colour to what might otherwise have been rather a sombre set of proceedings, necessary though they are to the plot.  These excellent principals was supported by a 23- strong chorus, some of whom had an occasional solo and strong and confident in voice they were. The show opens with their entry, cloaked in black,“Traitors”- style, then spending much of the time behind pews at the side and rear of the stage. The set was minimal: the raised platform adequately served as the bell tower and, when necessary, the bells themselves made an appearance, whilst scenes in the body of the cathedral were enhanced by a large rose window.  Molly Whitehouse provided assistance to the Director.

A first for me was the absence of a printed programme, although the replacement with access by way of a QR code may well become more common in future.  Whilst this worked with my phone at the theatre, it had disappeared by the time I reached home; I am grateful to a member of the cast for sending another copy.       

The disappointing feature here was the way in which the production had failed to attract sizeable audiences and it was sad to learn how three proposed performances had been cancelled for that reason.  This was poor reward for a company which had worked extremely hard and had achieved a high standard. Is it that York now has too many musical theatre companies doing too many shows?  It doesn’t seem long since there were considerably fewer.  A city of its size can certainly attract performers in sufficient numbers but does the potential audience have sufficient of an appetite, whether artistically or financially, for all that’s on offer?  The Rowntree Theatre alone plays host to five musicals and a pantomime within a period of 8 or 9 weeks this autumn, whilst the Theatre Royal had the musical “Military Wives” recently and the Grand Opera House has the touring production of “Six” clashing with this “Hunchback” and another amateur production before the end of the month.  We can only hope that those of us who were privileged to see this excellent production can spread the word about the high standard to be expected from this company, still fairly new to York.  Its mission statement is “art with a point”, “art that connects with human experience” and the cast certainly proved how this show is a perfect vehicle with which to convey that message.      

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