AMATEUR THEATRE REVIEW: The Hunchback Of Notre Dame - The Victoria Theatre, Halifax.

'The Hunchback Of Notre Dame' is a glorious musical from the pen of Alan Menken which is perhaps better known in the Disney film version than as a stage musical; in fact the musical, in the UK at least, is rarely performed and therefore less familiar. Obviously then a very brave choice for any company to consider in these post-covid times when "bums-on-seats" must remain the highest priority. 

However Halifax Amateur Operatic Society not only considered it, they performed it, and delivered the goods with style. 

It is not an easy musical to either stage or to perform. The story and the musical telling of it seemingly belonging more to Grand Opera than to Disney Musical. It is a tragic story with at least one character dying in the final reel, and the music is scored for on-stage choir as well as ensemble, with much of the text being in Latin and meant to resemble Catholic mass. The operatic feel continues with the story being sung a la operatic recitative. 

We are in the middle of the 15th century, in the cathedral of Notre Dame in Paris; the famous Rose window being our focal point on stage as scaffolding around the perimeter of the stage doubles as choir stalls / pews, and the interior and exterior of not just the cathedral but other Paris locations too. The set was superb; an almost exact replica of the Broadway version, with huge bells descending from the ceiling and lovely use of trap door. Costuming too was excellent, and since this musical is extremely Brechtian in its approach, once on stage, the cast never leave but instead sit in the pews - silent witnesses to the proceedings that unfold in front of them, passing comment and singing as necessary, along with the choir who were, again as per the Broadway version, seated on rostra either side of the window at the rear. The Brechtian idea is continued as majority of the costuming and "getting into character" is done on stage in front of the audience. We see the actor who will play Quasimodo put on his hump, dirty his face, and change his body shape for example. It certainly isn't a style of performance that most musical-theatre-going-audienes will be accustomed to; but in the context of this show, it works superbly. 

The story starts with two brothers taking sanctuary in the cathedral. One has an affair with a gypsy girl and is banished by his father for his promiscuity. On his deathbed he pleads with his brother to look after the baby boy that was born to him, explaining the gypsy girl had already died and his brother was the only family he had. Reluctantly, the man, who we now learn to be Dom Claude Frollo, takes this ugly and deformed child back to the cathedral, and cares for it, in the only way he knows how, by keeping him locked away safely in the bell tower. Away from the gaze and knowledge of the public Frollo christens him "semi-formed" (Quasimodo). Frollo has followed in his father's footsteps and risen to a high poisiton of responsibilty within the Catholic Church, and despite his many flaws, presents himself as a pious and devout man of God. Kev Davies's portrayal this evening was a cleverly measured one. Stern, unflinching, resolute, and severe to the outside world, his inner turmoils and more humane feelings only being brought to the fore when faced with another gyspy woman, this time, Esmeralda. We now see a very flawed and tormented man, torn between his godly existence and mortal desires, and yet this glimpse is all we get, but it is enough, we know him now, and rather than just hatred for him, we now are able to sympathise or even perhaps empathise with his position. Subtle and realistic.

Jason Jones was Quasimodo. Jones showed great skill and pathos with his characterisation. We truly felt for his condition and were rooting for him all the way. An intelligent peformer who was able to add layers to this character, bringing out our sympathy as we emoted with him at the futility of his situation, and (plot spoiler) the death of Esmeralda. A very personable performer who was easy to watch.

These two protagonists were complimented by three other talented leading actors / actresses. Todd Wilson was an enigmatic and very likeable Phoebus De Martin, again showing a great depth to his character; Sonya Louise Morris was a very sincere and believable Esmeralda. She had a lovely stage presence and her love for Quasimodo was very touching. Ashely Wade was the joker-in-the-pack, with his slightly sinister, slightly humorous, slightly odd-ball interpretation of Clopin Trouillefou. - his surname for those who can speak French being the character's giveaway "scary fool". Wade managed to bring both scariness and tomfoolery to his character which was still very grounded and believable. 

The smaller roles were played by the ensemble (called here 'Congregants'), whilst the chorus is given the title 'Congregation', and the choir... well, they are called the choir! It does mean though that it is a very large cast - perhaps one of the reasons that this show is rarely performed. This evening there was a cast of 60 on stage! Directed by Yvonne White, the show never lost its pace nor its focus, and the storyline was always well signposted. The characters were secure and strong, and their relationships and motives clear. White obviously loved 'pictures', as her use of the stage and the ensembles was delightful; the pictures and images created on stage always dynamic and interesting, but never out of place either. 

The music was played by a large band in front of the stage, and they, along with the choir and chorus were conducted skilfully by Graham A. Robbins. And the choral singing was rich and harmonic. The music is by Alan Menken, and is lush, lyrical, and at times operatic. You don't have to listen too carefully though to hear phrases or micro-melodies that turn up in other Menken shows such a 'The Little Mermaid' or 'Beauty And The Beast'. Like Lloyd-Webber, Menken is not afraid of reusing a good tune! 

One further mention must go to stage management. There was a hiccup in the second act when one of the steps had been placed incorrectly meaning the trap door was not safe to use. The Stage Manager walked on stage, and the entire cast just froze in positon, as well as conductor in mid arm-movement; and as soon as the issue was rectified and the SM was off the stage, the musical resumed as if nothing had ever happened. Extremely professional. 

Technically there were a couple of sound / mic problems this evening, but otherwise, the sound quality was good, and the lighting effective. A couple of places where the spotlights didn't hit their mark or follow the protagonist across the stage, but again, like the mics, these are minor issues which are easily rectified and did not diminsh the enjoyment of the whole.  

A powerful and sensitively realised production, deserving of a larger audience. Such a shame that this evening's auditorium was only half full. Had the sudden return to winter put people off perhaps. 

Reviewer - Matthew Dougall
on - 30.3.22