The Hunchback of Notre Dame - Reviews 2022
LEFT LION - Reviewer Ian C Douglas
A play based on a Disney film based on a classic novel. But a play that wants to reclaim some of the depth of the original book that was lost in the Disneyfication process. As one of the movie’s composers, Steven Schwartz, said ‘I liked the underlying themes of social outcasts and the worth of people being different than what society sees on the surface’. So, Schwartz and Menken reworked their score for a darker interpretation. Quite a challenge for the Nottingham Operatic Society. Yes, it is one of the oldest amateur musical theatre companies in the UK, with over a hundred years of productions, but were they up to it?
Long story made short: yes. The lights flare up on a dazzling edifice of wood and stone. Cloisters, parapets, courts, the stage design had it all covered. Kudos to the carpenters who constructed that.
Out comes the large cast, for as well as the principal actors, there is a small army of narrators, chorists and extras. Thanks to Disney and the vintage Charles Laughton movie, probably everyone is semi-acquainted with the story. The villainous Frollo lords it up at the Notre Dame, while giving his hunchback nephew, Quasimodo (meaning half-formed) sanctuary from a bigoted public. Enter Esmeralda, the free-spirited and feisty gypsy girl and Captain Phoebus, a dashing soldier back from the front, and the seeds of the melodrama are sown. Lust, love, jealousy, prejudice, corruption, courage, defiance, heartbreak and triumph. The whole human spectrum is on display.
I liked the underlying themes of social outcasts and the worth of people being different than what society sees on the surface
It all goes a bit ‘Les Mis’ in the second act, which isn’t surprising as Victor Hugo wrote both novels. But there’s nothing like an enraged rabble storming the battlements to get hearts pumping in the back rows.
Simon Theobald as Frollo gave a masterful performance. Perhaps the most difficult role, Frollo is not without his good points. Theobald communicates the character’s moral descent perfectly to the audience. But naturally, it was Zak Charlesworth as the eponymous hunchback who stole the audience’s hearts. At curtain call he received a standing ovation, and more than one theatregoer could be seen dabbing their eyes with a moist tissue. Bravo!
All in all, the cast gave such professional performances that it is easy to forget the amateur status of the Society. Never a wrong note nor a missed line. Perhaps a little finetuning with feedback and volume levels is required, but that tiny, tiny point apart, a superb evening. Why go to London when we have all this talent and class on Nottingham’s doorstep?
The Hunchback of Notre Dame plays at Nottingham’s Theatre Royal from Wednesday October 26th 2022 to Sunday October 29th 2022.
Ian C Douglas
East Midlands Theatre - Reviewer Phil Lowe
This may be one of the extremely rare reviews where one wishes that six stars were available and that one may run out of superlatives. So, as the French say, allons y!
The Hunchback of Notre Dame par Nottingham Operatic Society. Qu’est-ce que ç’est? Ç’est formidable. Ç’est remarquable. Ç’est un grand spectacle théâtral, Ç’est enorm, Ç’est superlative! En effet, Oh ouais!
Translation: The Hunchback of Notre Dame by Nottingham Operatic Society What is it? It’s formidable. It’s remarkable. It is a grand theatrical spectacle. It’s huge. It’s stonkingly good! Oh yeah! Indeedy.
That great? Yup – that great. In many musicals you would expect to find, see and hear an ensemble song here and there, sometimes they carry the story along to a further place or comment on current on-stage happenings. With some shows you wonder if their contributions are just filler material and do very little to enhance the audience experience. I can unequivocally assure you that the chorus and ensemble, including sung narrators, in this production of The Hunchback of Notre Dame, are mightily impressive, vocally producing the most sublime choral and musically dramatic sounds you ever heard in a musical. The show is worth going to experience just for them alone. Well, in fact, ‘alone’ doesn’t cover it as this ensemble is massive. Out of all the choral work the second act opening numbers the Entr’acte and Agnus Dei are the most breathtakingly beautiful. This is the sound I want to hear when I eventually pop my reviewer’s clogs and ascend to heaven’s upper circle eager for my eternal fill of St Paul’s minty choc ices.
A musical isn’t a musical without great musical direction (Morven Harrison- musical director) coupled with a very polished band or larger orchestra. The orchestra for Hunchback is supremely good in conveying all the dramas, bent religiosity and romanticism of Victor Hugo’s tale of Quasimodo (Zak Charlesworth), Esmeralda (Sarah Thompson), Dom Claude Frollo (Simon Theobold), Captain Phoebus De Martin (Richard Groves) and Clopin Trouillefou (Chris Grantham).
The ‘Hunchback’ music is by Alan Menken, lyrics courtesy of Stephen Schwartz and book by Peter Parnell. This production is directed and choreographed by the award-winning Andrew Miller. The all-important casting of the principals, Zak Charlesworth, Simon Theobold, Sara Thompson, Richard Groves and Chris Grantham is exactly right with each performer delivering their part vocally and theatrically to perfection throughout the, sometimes cruel, twists and turns of the story mostly set in the Parisian Cathedral of Notre Dame in the late 1400s. The grand and very solid, seemingly labyrinthian, set by Scenic Projects of Lowestoft, is a jaw-dropping wonder to behold and both the Nottingham Operatic lighting (Tom Mowat) and sound (Mike Donaghue) are excellent. The costumes and puppetry are top quality visions of invention. I love the Kings and Queens in their stony grey refinement and the overall use of all the levels and nooks and crannies of the set.
Sometimes one has to pinch oneself (not too harshly as to disturb the live production) to remind oneself that this company is ostensibly an amateur company and no ‘Festival of Fools’. Huge amounts of hard work and dedication and dratted Covid delays have gone into bringing an artistically challenging musical like The Hunchback of Notre Dame to this Nottingham Theatre Royal stage and it is an honour and a privilege to experience the talents of all these amateur players. Like Christmas the Nottingham Operatic Society shows only appear once a year, but unlike a commercial Christmas their shows are a golden gift to theatre that keeps on giving and giving and giving in our live experience and our theatre memories.
Having read this review you may be now asking yourself if the actors who play the main roles; Quasimodo, Esmeralda, Dom Frollo, Phoebus de Martin and Clopin, are good. No – in fact, they are not good – non, en réalitié, ils sonts brillants – in fact, they are brilliant. Indeed, as the hunchback Quasimodo sings and Americans like to say, they are most assuredly, ‘Out There’.
Now get yourselves to the Theatre Royal box office and book your seats. You’ll ‘regret nothing’ as another French musical icon once sang.
If you need even more proof, mesdames et messieurs, consider that for the first showing on the Weds matinée and the evening performance both shows were rapturously received and given loud standing ovations.
Production photo credits: Gavin Mawditt.
Theatre Online Review
This is a real humdinger of a show, a huge musical spectacular that is performed so well it is hard to believe that this is an amateur group. But this is Nottingham Operatic Society, one of the leading groups in the East Midlands, who were founded in 1893 and have been performing at the Theatre Royal since 1925. They describe it as their ‘spiritual home’ and they certainly do it justice with this wonderful show that echoes to the rafters with an incredible sound. A sound made not only from the 18 piece orchestra and the beautiful choral harmonies of a choir and an ensemble, but also from five powerful leading roles – a cast of over 50 performers. It looks and sounds absolutely magical.
The musical is based on the Victor Hugo novel and includes the songs and Academy Award-nominated score from the Disney animated film, along with new songs by Alan Menken and Stephen Schwartz. It tells the story of Quasimodo, the bell-ringer of Notre Dame, who longs to be Out There with all of fifteenth-century Paris. Held captive by his devious caretaker, the archdeacon Dom Claude Frollo, he escapes for the day and joins the boisterous crowd at the Feast of Fools, only to be treated cruelly by all but the beautiful gypsy, Esmeralda. Quasimodo isn’t the only one captivated by her free spirit, though – the handsome Captain Phoebus and Frollo are equally enthralled. As the three vie for her attention, Frollo embarks on a mission to destroy the gypsies – and it’s up to Quasimodo to save them all!
Quasimodo is played by Zak Charlesworth and what a wonderful, heartfelt portrayal it is. Theatre Online remember Zak as a young schoolboy with a promising voice, just beginning to take an interest in performing. Wow, has that voice kept it’s promise. It’s absolutely beautiful, soars to spine tingling heights and with such breath control that notes are effortlessly, gorgeously held. His rendition of ‘Out There’ is glorious. Not only that, Zak acts this part with so much integrity and passion: his naïve Quasimodo is heartbreakingly honest and completely captivating.
Simon Theobald plays Claude Frollo, Quasimodo’s dark and manipulative master. This is an acting tour de force from Simon who gives such a gripping and nuanced delivery that the character becomes much more than just a villain. He’s a tortured soul who is continually battling with his feelings and justifying his cruel actions. Another vocal triumph, Simon’s voice is as usual, a joy to hear, particularly in the anguished ‘Hellfire’, beautifully accompanied by the choir.
The object of combined desires, Esmeralda the gypsy, is no blushing Disney princess. She’s played with the spirit she deserves by Sarah Thompson who also has a lovely, pure voice. Esmeralda is the moral heart of the piece, showing compassion and kindness and never compromising her principles, even in the face of death. Her vocal highlights include the heart wrenching ‘God help the Outcasts’ and the uplifting duet with Quasimodo, ‘Top of the World’, on the parapet of Notre Dame. Fabulous.
Esmeralda’s love interest and typical Disney heartthrob is Captain Phoebus, a character that shows the most development the story. Richard Groves completely owns this character development, going from a nonchalant and rather sleazy soldier who obviously thinks he’s irresistible to women, to a principled and loving suitor. Richard has a fine voice and the pairing with Sarah’s Esmeralda during the classic duet ‘Someday’ is sublime,
Another character who is not what he seems is Clopin, the gypsy leader, who often acts as a narrator. He’s played with just the right amount of cheerful menace by Chris Grantham; not an easy task, as it’s hard to tell if Clopin is one of the good guys or one of the bad. Chris brings out the humour in the character and gets plenty of chances to show off his voice in the stirring group numbers that feature the gypsies.
Another star of this production is the set - it’s simply splendid. It’s there in all its glory as soon you enter the theatre, a two level structure of towering stone that can be used either as the external facade of Notre Dame – beautifully enhanced by a splendid rose window - or the internal nooks and crannies of Quasimodo’s bell tower. It’s one of the best sets I’ve ever seen at the Theatre Royal; congratulations to Scenic Projects, who supplied it.
The set is well used by the large cast, the statues, gargolyles, priests and choir are often arranged on the upper levels, sometimes with parishioners and gypsies below, giving rise to that wonderful harmonious sound that characterises the whole production.
The musical director, Morven Harrison must have worked long and hard to perfect this quality of sound, but it must be so gratifying to achieve such a high level of performance. Likewise the Director & Choreographer, Andrew Miller, who has kept this production pacy and exciting – wonderful gypsy dancing! – yet paid full attention to the dark and uncomfortable moments that can be almost unbearably sad. There are flashes of humour in the dialogue though and the touching relationship that Quasimodo has with the animated gargoyles and effigies of Notre Dame is diverting.
So much goes in to producing the overall impact that a show like this has and credit to the enhancement provided by the varied and atmospheric lighting (Tom Mowat) and the complex sound (Michael Donaghue). The production looks gorgeous from the colourful sixteenth century gypsy costumes to the grey clad Kings and Queens.
This show retains some of the darkness of Victor Hugo’s writing and has the depth of an opera with the story telling power of a Disney film. Nottingham Operatic Society have waited a long time to produce it, but for me and all the others who stood up to applaud tonight, it was very definitely well worth the wait.
It continues at the Theatre Royal until Saturday 29th, with matinees on Friday and Saturday.
REVIEWER - Kev Castle
What makes a monster and what makes a man? This is the central theme of "The Hunchback of Notre Dame", a sweeping, grand-scale musical from Disney. Based on the 1996 Disney film and Victor Hugo’s 1831 novel, "The Hunchback of Notre Dame" tells the story of Quasimodo, the hunchbacked bell-ringer of Notre Dame, and his desire to one day be a part of the outside world.
When he summons the courage to attend the Feast of Fools, he meets Esmeralda, a compassionate gypsy who protects him from an angry mob. But at the same time, Quasimodo’s master, the archdeacon Dom Claude Frollo, and the new captain of the guard, Phoebus de Martin, fall in love with the beautiful gypsy girl. Adding to Quasimodo’s struggle is his punishment and derision from Frollo, following years of psychological abuse, and the danger posed by the gypsies, who are willing to kill any outsiders who venture into their secret hideout. But before Paris is burned to the ground, will Quasimodo be able to save Esmeralda from Frollo’s lust and anger? Will she return Quasimodo’s affection? Who is the true monster of Notre Dame?
It's my first viewing of this musical, and if I get to see another production, they had better be as good as this one. I overheard someone behind me exclaim that ‘they could not believe that these were amateurs’. I personally could believe that they were amateurs for the simple reason that "amateur" means "for the love of" and there is an awful lot of love, passion and emotion on that stage. I do, however understand what they meant because the quality of this production could be misconstrued for a West End Show.
Zak Charlesworth plays Quasimodo. Every time I see Zak on stage, he just gets better and better. He not only sings with such emotion, he is able to act with the same level of emotion. His voice gave me goosebumps on several occasions this afternoon. He takes his performance to another level altogether here and it's a mystery as to why he has not been headhunted by someone like Cameron Mackintosh because his acting and vocal performances are of West End standard. He has the ability to shroud himself in the character and live the life of the outcasted and belittled Quasimodo for a few hours on stage, and he makes you feel for his character.
Dom Claude Frollo is played by Simon Theobald, another actor who makes you believe in the character he plays. Simon's voice is also packed with power and emotion of a different kind to that of Quasimodo. This pairing is one made for musical theatre heaven. Around this time of year there are normally album releases from well-known pairing of tenors for the Christmas market; Boe and Ball, Jones and Watson - this year I'd love an album from Charlesworth and Theobold because their voices blend so wonderfully in this show.
Esmerelda, the gypsy girl who is the centre of the love triangle between Frollo and Phoebus, is played by Sarah Thompson. Sarah is another point of the pentagon of perfection in Hunchback. She is sassy but also has sentiment in her heart as she sticks up for Quasimodo, who in turn returns the favour, against Frollo's wishes. Another actor with an incredible voice, I could watch and listen to her all day. And she makes a wonderful Disney Princess.
Clopin Trouillefou is played by Chris Grantham. Clopin is the man who at first seems to be on the wrong side of the tracks, but then again that's looking at it from Frollo's view. In reality he is one of the good guys. A bit like a gypsy king who is forever looking out for his gypsy kingdom. Another wonderful piece of character acting, and he also has a powerful voice to match.
Captain Phoebus de Martin is played by Richard Groves, and here again, when we first meet this character, he comes across as a bit of a slimeball; he certainly gets off on the wrong foot with Esmerelda, but then that playa image is peeled back and we see that he is also one of the good guys, but working under the guidance of if Frollo. But does he follow his heart or his head. Whichever way he chooses, he could lose the other. This group have been blessed with so many powerful singers and Richard is yet another one of them.
The cast size for the show is massive with smaller character roles, narrators, the ensemble and two groups of choir members, altogether totalling about fifty in the complete cast. Unfortunately, I don't have room to mention every single one of them, but what a cast!
Directed by Andrew Miller, who is new, I believe to Nottingham Operatic, but if he can produce this quality, he can come back every year. Andrew is also responsible for the beautiful choreography in this show.
Musical Director is Morven Harrison, and if I didn't know any better, I'd have thought that we were listening to the recorded soundtrack, the quality of sound from that nineteen-piece orchestra was simply gorgeous. The opening piece "Olim" and "The Bells Of Notre Dame" are stunning and send chills through your body.
The Sound Design by Michael Donoghue had a few little hiccups throughout, but I am sure that the evening performance and every performance henceforth will be completely faultless. Apart from the hiccups, another classy sound design that helped to provide those chills.
Lighting Design by Tom Mowatt was as always perfect. The lighting really gives atmosphere to the story. Beautifully lit.
The gorgeous set is provided by Scenic Projects, and as soon as you get into the Theatre Royal auditorium, it hits you straight between the eyes. This is one of the best sets that I've seen on this stage for a very long while, and that stained glass window id awesome.
The music by Alan Menken and lyricist Stephen Schwartz is sublime with numbers like "Out There", "Top Of The World", "Made Of Stone", "Heaven's Light" and "God Help The Outcasts" are worth coming to see this show alone. The costumes for this period piece are just so good, you need to see them to get the real effect form them. Linda Croston being the wardrobe mistress.
I've been looking forward to this show for a while now and it certainly exceeded all of what I'd expected from it with the passion and emotion within the story and the performances from everyone on stage. The standing ovation for this group was richly deserved, and that's just the matinee!
"The Hunchback Of Notre Dame" will be at the Nottingham Theatre Royal until Saturday 29 October.