The Hunchback Of Notre Dame

Ever adventurous with their choice of show, Walmsley have once again not shied away, with the 2014 Musical version of Disney Theatrical’s The Hunchback of Notre Dame. Drawn more closely to Victor Hugo’s original 1831 novel, this version is much darker than the 1996 Disney film adaptation. Walmsley have taken a leap in many senses, as this was surely no mean feat to take on, but my, they did it with style. New to the role of Director, Walmsley regular, Steve Benson quite evidently poured his passion for this show into the preparation and direction of this 34-strong cast. It felt as though every tiny element had been considered in bringing to life the story and feel of 1400s Paris. Steve’s direction of the principal cast and ensemble seamlessly combined movement, narration, passion and power; drawing the audience in from the opening moments.

The impressive set by John West, Dave McGreavy, and exquisitely painted by Sara Hassall was a spot-on
representation of the Cathedral of Notre Dame. With a striking stained glass effect panel on the back wall, and three levels of mock stone, wooden beams and balustrades; The set was dynamic, and effective when moved by the ensemble to create a multitude of different scenes and backdrops, especially the adaptable stone arches, and the excellent impression given by the moveable balustrades during the climax of the story, bravo one and all. To compliment this, the set was effectively lit by Nathan Emmison, offering a very moody atmosphere, and fantastic use of blue shades made for very realistic night-time scenes; with beautiful use of gobos, and the fire effects were particularly excellent. Sound was once again in the capable hands of Lea Royce and Elodie Perrier, and every line and note came across completely crisp and clear.

The ensemble had their work cut out in this production, and boy did they deliver. Every single member of the company was completely invested in their delivery of the story, through their multiple roles and guises. The slick movement of the company made for an excellent pace and the level of story-telling was exceptional. The crowd scenes and more lively numbers such as Topsy Turvy and Tavern Song were excellently curated by resident choreographer Lara Syddall. Lara’s creativity, as always, came through in the excellent motifs and configurations, and she knows how to expertly teach and work with such a large company; it filled the stage and brought real impact to proceedings, so a huge well done! From their opening stance, filling the stage as hooded figures, the ensemble performance was visually stimulating, and the sound… it was glorious! The ensemble singing in this production was of the highest quality, with haunting melodies, beautifully sustained notes and the cleanest harmonies there could have been. This is of course also a huge testament to Musical Director, Adrienne Wormald. What an incredible job she did, clearly working the company hard in nailing those monastic harmonies and cloistered tones, and quite often in Latin too…simply marvellous!

As for the players, there were so many note-worthy performances in this production. In setting up the back-story, Matthew Shallicker as Jehan and Beth Bentham as Florika were confident in their roles and they conveyed and set the tone of piece with great conviction. They were ably assisted in their story-telling by the collective of Gargoyles – Catherine Hall, Gill Pollitt, Zoe Pollitt, Eileen Reeves, Emma Sutch and Hannah Worrall. These six worked incredibly well together, bringing humour and heart to their scenes with Quasimodo, but also diligently conveying the story, and showcasing beautiful harmonies. Top of the World was a particular highlight, and was a real ‘goosebumps’ moment. I must add a shoutout for Eileen, who delivered some stunning solo lines and seemed to handle those top harmonies with such ease, absolutely chilling. Dave Reeves was very commanding in all his roles, and the interpretation of St Aphrodisius was particularly impressive; which allows me to mention the specialist make-up by Julie Kirby. In particular, the make-up for Quasimodo was highly effective and added real depth to the character, really excellent work. As self-assured head of the guards, Phoebus, Joshua Heal was every bit the dashing soldier, in both stature and demeanour, but his character softened as the narrative ran on. Josh demonstrated strong and melodic vocals, perfectly suiting the role. From the opening scene, Adam Manning was commanding as Claude Frollo, Quasimodo’s keeper and ward of the Cathedral. Adam was effective in presenting an assured presence and brought real grit to the role, with his haunting baritone vocals, this was a really successful performance. As leader of the gypsies and fools, Olivia O’Connell was in her element as Clopin; bringing a larger-than-life personality to proceedings, as well as stunning vocals and swagger. I was given hints of a female ‘Jack Sparrow’ as she navigated the narration and pageantry with aplomb. As the mysterious gypsy, Esmerelda, Louise Gaffney burst onto the stage with confidence and sass, as she put Phoebus in his place, leading the ensemble in a merry dance. Louise demonstrated a multifaceted Esmerelda, bringing the kind and caring nature through fantastic characterisation and beautifully unique vocals. God Help the Outcasts and Someday were extremely moving, and a few tears were certainly shed…what a star turn. In the titular role, as hero Quasimodo, Callum Burton presented the instantly recognisable character with well-considered characterisation and effective presence. Callum’s softly spoken delivery brought real pathos and empathy to the role; delivering the songs beautifully, and at times, so powerfully. This was a challenging role to take on, and Callum did it excellently, bravo!

This production was an absolute triumph for Walmsley, and from speaking to the creatives, I felt and understood the hard work and passion that went into it. It was clear to see and hear just how much impact all the hard work had. It was incredibly moving and special, and will stay with me for a long time.

Thank you for your wonderful hospitality, and the sincerest congratulations to one and all.

Matthew Gavin

Victor Hugo’s gothic novel The Hunchback of Notre Dame first published in 1831 set in 15th century Paris. The novel is now known as a classic and written at the time of cultural upheaval. Sadly, the issues that arise of intolerance of others still happens today. The original story is a harsh one showing the romantic era in extreme with passion and religion as the theme. It was the first novel to have a beggar as a major character. Since then, various adaptations have strayed from the original plot - one film even giving it a happy ending. Disney made it into a cartoon and put it to music making it very accessible. The Hunchback of Notre Dame has inspired films, plays, radio, tv, ballet, comic, musicals and video games. For a novel that Victor Hugo put aside for a few years before completing, it still stands the test of time: powerful and haunting. Director Steve Benson says in his notes it is one of his favourite Disney films and makes his directing debut doing this musical.

The set of the cathedral of Notre Dame was on three levels giving impact. Stage Left was a statue of Our Lady with candles and was back lit for effect in some scenes. Stage Right was two stone archways also with candles and a wooden truck that was used for a four-poster bed bed, a stage and the pyre on which to burn Esmeralda. Arches were at the sides of stage, which could be moved forward from both sides by the cast. At back was a wooden balustrade that also moved with good effect creating the corridors. The second level was where the gargoyles were and that had a stairway up to it. The next level at the top had ropes hanging down from the bells and a large stained-glass window behind it. Stage Right of it was a step ladder up to it. Set Construction was by John West and Dave McGreavy, Scenic Artist Sara Hassall. Properties by Anne Cocking, Janet Witt and Adrienne Wormald. Sound was good and had clarity by Lea Royse and Elodie Perrier. Lighting was particularly effective and added to the atmosphere. Lighting was by Nathan Emmison. Stage Manager was John West. Costumes all looked in keeping. Wardrobe by Eileen Reeves and Adrienne Wormald.

Lara Sydall was the choreographer, using the stage well and manoeuvring the large cast efficiently in numbers and the vibrant Romani dances bringing light relief and colour. Adrienne Wormald was the Musical Director and while this was backing tracks it was evident of the amount of work Adrienne must have put in to get the beautiful sound we heard and in Latin. Olim/The Bells of Notre Dame was powerful. Loved Transition to Bell Tower by the Gargoyles. Someday sung by Esmeralda and Phoebus was potent and Heavens Light sung by Quasimodo was evocative of his admiration of Esmeralda. Lovely.

Steve Benson directs, clearly working well with Lara and Adrienne to get a cohesive feel about this production. The stage was utilised well and the use of scenery moved by the cast enabled the production to flow and the tension to build. The ensemble and characters bringing energy to the stage. The Ensemble played a large part in this production and some strong images were created in the grey robes with hoods, then changing into townsfolk, gypsies or soldiers. This musical gives all a voice with the aid of narration spoken by various characters to move the story along.

Andrew Turton played Father Dupin and Townsperson. Julie Ogden played Brothel Madam and Townsperson. Dave Reeves played St Aphrodisius in an impressive costume and also took on the role of Official and Townsperson. I was intrigued by this saint and admit to Googling him. Beth Bentham played Florika also a gypsy, Quasimodo’s mother and another Gypsy. Matthew Shallicker played Jehan, Quasimodo’s father and Frollo’s brother and also played Frederic, a solider. The Gargoyles who were Quasimodo’s friends and companions also doubled up as Gypsies were Catherine Hall, Gill Pollitt, Zoe Pollitt, Eileen Reeves, Emma Sutch and Hannah Worrall. Taking on human form when alone with Quasimodo they are his friends and encourage him. They worked well as a group and had lovely voices.

Olivia O’Connell takes on the role of Clopin leader of the Gypsies usually played by a man. I loved Olivia’s interpretation of the character, bold and feisty for me it really worked with her relationship with Esmeralda, bringing the energy and voice to the stage. Joshua Heal takes on the role of Phoebus the Captain. His character being slightly different form the novel in that he falls in love with Esmeralda in the musical. At first we are unsure of him but he proves his worth and Joshua had a good connection to the character.

Adam Manning takes on the role of Dom Claude Frollo, a Catholic priest at odds with himself, saving his nephew Quasimodo but treating him like a slave. He is a pious man and fights with himself over his infatuation with Esmeralda, when she rejects him, wanting her death. When playing evil, it’s good to see the Achilles heel and we get to see this through Adam’s interpretation.

Louise Gaffney takes on the role of Esmeralda the girl who draws the attention of the opposite sex - not always a good thing. She is feisty and knows how to take care of herself. She is the only one who shows Quasimodo kindness. Louise had a great connection to the songs and they were sung effortlessly. As I said before the song Someday was sung beautifully as was Top of the World.

Callum Burton was Quasimodo. Kept captive by a cruel uncle and ringing the bells had affected his hearing his only friends being stone statues. He was subservient to everyone, until he is offered kindness by Esmeralda he begins to see how cruel Frollo is. Callum gave a good performance of the character and it was noted how engaged he was when he was just listening or watching the action. Not over-acting, just being and his stillness drew you in, added to that a lovely voice - well done.

Walmsley Church AODS must be delighted with this powerful production of The Hunchback of Notre Dame. Thank you for the hospitality and looking after my guest Angela and I.

Liz Hume-Dawson