The Hunchback of Notre Dame

The Hunchback of Notre Dame is a musical with music by Alan Menken and lyrics by Stephen Schwartz. It is based on the Victor Hugo 1831 novel and songs from the Disney animated film of 1996. It tells the story of Quasimodo, the hunchbacked bell-ringer of Notre Dame. He is held captive by his devious caretaker, the Archdeacon Dom Claude Frollo, but has a deep desire to one day be part of the outside world. To that end he manages to escape to attend the Feast of Fools where he meets Esmeralda, a compassionate gypsy who protects him from an angry mob. Quasimodo isn’t the only one captivated by her free spirit as both the Archdeacon and the new Captain of the Guard, Phoebus de Martin, fall in love with her. As the three vie for her attention, Frollo embarks on a mission to destroy the Roma - and it’s up to Quasimodo to save them all.

I must say at the outset of this report that for most of the time that I watched the show I was totally confused and bemused by certain aspects of it. Esmeraldo was initially played by a certain actress and then later by a different one and even later by a third actress. Similarly, Frollo was played by three different actors. I just couldn’t get my head around what was happening. Unfortunately to access the programme, where explanations might have helped, you had to use a QR Code displayed as you entered the theatre, so this was of little help at the time. However the next day Joshua forwarded me the ‘Programme’ and all became clear. Joshua had a very perceptive and visionary idea of how he wanted to present the show. Firstly he didn’t want the ‘ensemble’ to be merely background crowds he wanted them to be involved directly by becoming the “Architecture of Notre Dame, the streets of Paris, the bells of the cathedral, the narrators of the story and the characters within it helping to reflect the themes of conformity and shared humanity”. I must say, that now I understand this notion, Joshua certainly delivered his perceptions of this aspect superbly. The ‘ensemble’, attired throughout in black cloaks with hoods, were just exceptional. As the show is mainly sung, the choral genres, varying from classical Latin to Romani-style music and peasant tunes, were all absolutely phenomenally achieved. The harmonies that were delivered were just unbelievably awe-inspiring. Melanie Gilbert, the Musical Director, who in one scenario was actually on stage conducting the ‘Choir’, deserves every accolade, but lets not forget, that you do have to have excellent singers to enable this amazing outcome and they were, just that. Quasimodo was outstandingly portrayed by Matthew Szadura. With just a simple red silk jacket complete with hump insert he most definitely became the character. He absolutely perfected the obedience and subservient nature of Quasimodo whilst becoming so brave on his decision to escape to attend The Feast of Fools where his reactions, to the mobbing, jeering and mocking crowd towards him, were so well achieved and his heartfelt feelings towards Esmeralda were so wonderfully displayed. Matthew has a terrific singing voice so evident in all of his numbers but especially in the poignant and moving singing of ‘Out There’ and ‘Heaven’s Light’. It was indeed an exceptional portrayal. For me, the most confusion arose from the role of Frollo, the Archdeacon of Notre Dame. In the first instance Frollo was depicted as elderly, which seemed logical for the role, but then by two much younger actors which I found quite confusing as to exactly who they were meant to be, again the information in the ‘Programme’ helped clear this up. Mark Szadura was excellent as the first Frollo delivering a somewhat authoritative and reluctant caretaker role of Quasimodo with only a very little compassion towards him. Xavier Gabrych and Leighton Hendon were both brilliant as Frollo 2 and Frollo 3. They both have such powerful and fabulous singing voices accompanied by superb acting skills which, between them, delivered the bigoted, fervent, obsessive, evil and final downfall of Frollo so convincingly. Yet another point of confusion arose from the role of Esmeraldo. All three playing the role were equally impressive. Zara Grosse was Esmeralda 1 and what a superb singing voice she has, Caitlin Wyatt was Esmeralda 2 with Emily Skill as Esmeralda 3. All three quite superbly delivered the differing aspects of the character from initial happiness and compassion, through to being able to adapt to change and becoming more tenacious to finally having her freedom taken away to being totally demoralised and to her final death which was so well portrayed. Matthew Alsop was superb as Pheobus, Captain of the Cathedral Guard. He was charming, over confident, somewhat arrogant but delivered the more moral aspects of the character superbly even to challenging Frollo. I loved ‘Someday’, the duet with Esmeraldo, it was just so moving and heartfelt. Oliver Lowe was splendid as Clopin, the King of the Gypsies. He brought out the fun side of the character as well as being quite serious when required. Excellent support came from Elisen Knowles as Florika, from Everett Van Mierlo as Jehan and Frederick and from Oliver Broughton as Father Dupin. I have already mentioned the wonderful Ensemble who also played various other roles but they were all so good and were such an integral part of the show that they definitely deserve a mention. They were, Elisen Knowles, Everett Van Mierlo, Oliver Broughton, Antony Wood, Bethan Jones, Bethany Haystead, Carolyn Szadura, Charlotte Brough, Chloe Nunnington, Danielle Hickton, Daniel Barnett, Ellie Levine, Lauren Pinder, Olivia Thorne, Lydia Ward, Madeline Grady, Nicola Smith, Tilly McKee and Tyra Rimmington. 

There were some exquisite scenes and the fabulous singing was accompanied by very innovative and creative choreography which was so enthusiastically and so impeccably executed and the ‘fight’ episodes were so realistically accomplished, arranged by Fight Coordinator Matthew Szadura. The ending was just so profound as Quasimodo takes off his ‘hump’, addresses the audience by finally asking, “What makes a Master and what makes a Man”. 

The set consisted of painted flats across the back wall adorned with crosses, processional poles and candle holders with the addition of confessional-like screens and several benches were used to create different scenarios. The costumes were just ideal. This was indeed a truly amazing and exceptional production and even though I admit to not fully understanding some of the anomalies within it, it was just brilliant and so deserving of the standing ovation it received.

My sincere congratulations to Creative Director, Joshua Mason, for his insightful, visionary and ingenious ideas and adaptation of the show, to Melanie Griffith, Musical Director, for her tremendous musical input, to Emily Skill, Choreographer, for her innovative dance routines, to Daryl Hoare, for some very atmospheric lighting, to Chris Grimshaw for the excellent sound effects, to Scenic Carpenter, Gareth Elvidge, to Seamstress, Bethany Haystead and indeed to everyone else involved. Most especially, many congratulations must go to the extremely talented and magnificent principals and to all of the the excellent cast members. My heartfelt thanks also, for the warm welcome that I always receive.  

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