The Hunchback of Notre Dame

 

Burnley Light Opera Society’s staging of The Hunchback of Notre Dame at The Mechanics Theatre was an impressive achievement, full of detail and atmosphere. Alan Menken’s sweeping score and Victor Hugo’s darker story were handled with care, leaning into themes of faith, justice, and compassion. From the very start the stage felt transformed into a cathedral of stone and shadow, with music, movement, and design working together to draw the audience into the world of the play. The production’s scale was impressive, but what truly stood out was the attention to detail: every performer, every costume, every sound cue contributed to a cohesive whole.

Anthony Williams directed and choreographed the production with a steady hand. His approach kept the story clear and easy to follow, even when the stage was busy with large groups. The movement he gave the ensemble felt purposeful without being overcomplicated, and the bigger musical numbers had shape without losing focus on the main characters. He made effective use of the space at The Mechanics Theatre, balancing quieter moments with scenes of scale. His direction and choreography brought the drama, music, and movement together in a way that felt natural and well‑balanced.

Steven Mercer‑Murray’s musical direction gave the production both energy and, control. the evening that I attended, the orchestra’s enthusiasm in the opening number slightly overpowered some of the lead vocals, making a few lines harder to catch, but this soon settled. Otherwise, the orchestra were excellent, supporting the drama with sensitivity and grandeur. Vocal harmonies throughout were precise, powerful, raw, and atmospheric. The 25 strong Cathedral choir sounded fantastic, their presence behind gauze adding depth to the ensemble on stage. Solos were rich, expressive, and emotionally resonant, supported with care so their voices could carry clearly, and the blend between choir and orchestra felt well‑judged. His approach kept the score moving with drive while allowing space for quieter, more emotional passages to make their impact.

The lighting design by Neil Dolman of Bright Lites together with Anthony Williams was one of the standout elements of the production. It was not about illumination; it shaped the mood of each scene with precision. Spotlights hit bang on cue, giving clarity to key entrances and solos without ever feeling intrusive. The use of colour was particularly striking: deep reds and fiery tones engulfed the stage during moments of chaos and conflict, creating the sense of hellfire sweeping across Notre Dame. In contrast, tender exchanges such as those between Jehan and Florika were bathed in softer blues and cyans, which gave those scenes a gentler, more intimate atmosphere. Shadows were used thoughtfully, adding texture and depth to the cathedral setting and reinforcing the gothic tone of the story. The balance between light and dark, carefully judged, so that the stage picture always felt alive and dramatic without overwhelming the performers. LX Operator Tom Whittaker ensured the lighting shifted seamlessly between grandeur and subtlety, supporting the narrative at every turn. It was a design that elevated the storytelling, guiding the audience’s emotions and ensuring the visual impact matched the scale of the music and drama.

Sound design by MASH Audio Visual delivered clarity and atmosphere. Every sound effect was precise, from the tolling of the bells to the hammering of the battering ram against the cathedral doors, the crackle of fire consuming the great church, and even the subtle dripping of water in the dungeons. AV design by Frankie Rogers added striking visual layers, projecting images of Jesus on the cross, the Blessed Mother Mary, and, in one of the most powerful sequences, the full climactic scene where Quasimodo finally throws Frollo from the top of Notre Dame.

The set design gave the production a real sense of scale and atmosphere. The stage was split with a gauze behind which sat the orchestra and choir, creating depth and allowing their sound to feel part of the cathedral itself. The main stage was kept clear so the actors could move freely, often changing in the shadows while the audience’s eye was drawn elsewhere. Scaffolding framed the space, and in a clever touch, the audience walked beneath it as they entered the auditorium, at once placing them inside Notre Dame. Quasimodo’s living quarters were perched high at the very top of the cathedral, extending out like a bridge towards the audience, which made his world feel both elevated and precarious. Together with the bells and statue pieces, the design gave the show a strong identity, supporting the drama without ever overwhelming it.

The gargoyle costumes looked fantastic, their sculptural presence adding a haunting authenticity to the cathedral setting. St Aphrodisius and the bells, designed and constructed by Chris Anderson at No Eyed Theatre, looked superb and gave the stage a tangible sense of grandeur and weight. Wardrobe, overseen by Evie Clarkin, Pauline Woodhead, Penny Poulton and society members, was a triumph in detail and cohesion. Every ensemble member looked the part, right down to the boots worn by the ladies, with the clever addition of a red sash or scarf that stood out in contrast as the ensemble transformed into gypsies. The evolution of Frollo’s costume was particularly notable, reflecting his growing stature within the church. Each change in his attire reinforced his shifting authority and moral rigidity, and the wardrobe team ensured these transitions were both subtle and powerful.

 Props by Anne and Geoff Baron with Linda Howarth and UK Productions added further atmosphere and authenticity. Their work gave the stage a tactile realism, ensuring every detail contributed to the immersive world of Hugo’s Paris. The flaming torches were particularly striking, casting a glow that heightened the gothic atmosphere and underscored the tension of crowd scenes. Each prop felt purposeful, from the everyday items that grounded the ensemble in realism to the symbolic pieces that carried dramatic weight. Together, the prop team’s artistry added depth and texture to the production, complementing the costumes, set, and AV design to create a cohesive and visually compelling stage picture.

Stage management kept the production steady throughout. Simon Mercer‑Murray, as Creative Co‑ordinator and Deputy Stage Manager, ensured cues and transitions ran smoothly, while Society Stage Manager Ken Hardwick oversaw the wider organisation. At The Mechanics, Florence Bushby managed the stage with precision, supported by crew member Jessica Whittaker. Together they provided calm, reliable backstage support that allowed the cast and musicians to focus fully on their performances.

Matt McGoldrick’s Quasimodo was deeply affecting, a performance full of real pain and emotion. He threw himself into the role, scaling the scaffolding with physical commitment that made the audience feel every ounce of his struggle. His makeup was transformative, giving him one smaller eye and a birthmark that covered the left side of his face, enhancing the sense of vulnerability and difference. Vocally, Matt balanced boldness with fragility, his voice soaring in moments of passion and breaking with tenderness in quieter scenes.

Scarlet Dickinson radiated intensity and fire as Esmeralda, and her performance was note‑perfect, she sang with flawless precision and emotional truth, never wavering in pitch or intention. Each phrase carried clarity and warmth, cutting through the ensemble and orchestra while staying sincere and heartfelt. She was both fierce and gentle, embodying freedom and resilience with a presence that shifted the atmosphere each time she appeared.

Gareth Andrew Smith delivered a commanding and unforgettable performance as Dom Claude Frollo. His portrayal was steeped in passion and fervent conviction, with a seedy undercurrent that made his moral rigidity even more unsettling. He embodied the archdeacon with chilling gravitas, his voice carrying righteous fury and his physical presence carved from cathedral stone. His Frollo was not a one‑note villain but a complex figure, torn between desire and duty, and his intensity drove the production’s moral conflict.

Michael Baines brought confidence and clarity to Captain Phoebus de Martin. His assured stage presence captured the swagger and authority of the soldier, while his vocal delivery was strong and direct. He balanced Phoebus’s charm with a sense of duty, ensuring the character felt grounded and believable. His chemistry with Scarlet was excellent, their scenes tender and fiery at the same time.

Leonie Picariello gave a fantastic performance as Clopin Trouillefou, the vibrant leader of the gypsies. Her vocals were powerful, expressive, and full of character, commanding the stage with every phrase. She brought humour, energy, and a touch of mischief to the role, while also grounding Clopin in a sense of resilience and defiance.

Peter Gardiner contributed across multiple roles, portraying Jehan Frollo, Lieutenant Fredrick Charles, and a congregant with clarity and distinction. Sara Zahraoui brought warmth and vitality as Jehan’s gypsy lover, complementing his character with sincerity.

Peter Rigney, Graham Cheshire, Vicki Clarkson, and Joanne Gill formed a superb gargoyle quartet, each carving out their own personality while working in perfect harmony. Together, they stood still in statue mode, embodying the eerie stillness of stone, before springing to life with fantastic vocals and characterisation.

Mall Wood was in fine form as Saint Aphrodisius and congregant, appearing in a fantastic foam statue outfit that looked as though he had been beheaded. Mark Wood impressed as Father Dupin, Official, and congregant, bringing rich tones and a commanding voice to each role.

Jackie Catlow was strong as Madam, and Ann Mason contributed lovely vocals as a congregant. Alongside them, a whole host of ensemble cast members brought energy as gypsy dancers and congregants, weaving Paris into a living, breathing world.

The Cathedral Choir, 25 strong, was a highlight of the production. Seated onstage and concealed behind gauze, they provided Gregorian chant and choral textures that enriched the atmosphere, layering sacred resonance over dramatic action while blending beautifully with the ensemble. Their presence gave the production scale and depth, ensuring the soundscape was both monumental and intimate. The Mechanics Theatre audience responded with hushed empathy and rapt attention, Burnley Light Opera Society’s Hunchback of Notre Dame was a landmark production, blending powerful performances, innovative choral staging, and technical artistry. 

I would like to thank Burnley Light Opera Society for their kind invitation, and the front of house staff for their warm hospitality throughout the evening. I look forward to many more productions from BLOS in the future.

 

 

 

 

 

 

 

 

 

 

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