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Show: The Hunchback of Notre Dame
Society: Abbey Musical Society
Venue: The Forum
Credits: MTI
Type: Sardines
Author: Graham Whalan
Performance Date: 14/03/2023
The Hunchback of Notre Dame
Graham Whalan | 23 Mar 2023 12:54pm
Abbey Musical Society is well known for pushing at the boundaries, but their current staging of Alan Menken & Stephen Schwartz’s musical interpretation of Victor Hugo’s Gothic novel The Hunchback of Notre Dame must surely rank as their most ambitious production yet. With a cast of around 70 performers the task is to convey a complex and powerful story of lust, prejudice and corruption offset by the virtues of love, courage, and defiance. Wow! Such a mixture inevitably places major demands on the skills of the players, but I am happy to report that everyone involved here rises to the challenge – rather magnificently in fact.
Arron Wakefield takes the lead role of the disfigured Quasimodo, confined to the bell tower of Notre Dame by his guardian and uncle, the callous and corrupt Archdeacon Frollo. He gives a brave and committed performance, demonstrating considerable talent both as an actor and talented vocalist. In particular I found his interpretation of his song Out There both gutsy and incredibly moving. At the heart of the story is his love for the ill-fated gypsy girl Esmeralda, here played by Rachael Lewis who also impresses with her clear, pure vocals. She proves well up to the task of combining feisty defiance with compassion and tenderness. I found her scenes with Quasimodo to be genuinely affecting, and her rendition of God Help the Outcasts simply beautiful. The role of Archdeacon Frollo is taken by Mark Johnson who always cuts an imposing figure each time he appears, whilst his loathsome advances on Esmeralda contrast sharply with Quasimodo’s poignant tenderness. Phoebus, the would-be hero, is played by the sure-footed Chris Barker (despite an unfortunately rather camp-looking blonde wig), with Anthony Collins giving lively energy to Clopin, the spirited and compelling leader of the gypsies.
In short, the principal cast members all succeed in their individual characterisations and drive the action forward at a steady pace. But this show is also a full-on ensemble piece with choristers, narrators, and of course Quasimodo’s imaginary friends, the gargoyles. Director Russ Brown and Producer Nick Collinge, with their respective vision, clever staging, and set design (and indeed their close attention to detail in terms of costumes and make-up) have done really well to coordinate all the resources available to them into a well-organised whole. The dance sequences, supplied by the gypsies, bring some complementary colour and vitality to the show, with Sarah Powell’s more than trustworthy choreography. I must however single out the contribution of young Henry Powell who, although the smallest member of the troupe, proved to be an assured and confident mover, who was always perfectly in step. He reminded me of a mini-Billy Elliot and must surely be one to watch!
Such a great score and stirring music needs careful and adept interpretation of course, and this is ably provided by a 13-piece orchestra in the safe hands of Angela Guntrip, a regular and key presence in the Society’s creative team.
So, as you see, there’s really nothing to complain about here. This is a show which embraces all the demands of great theatre – an imaginative set, a full-on ensemble, a great score, and talented actors, singers, and dancers. It succeeds on so many levels and all involved can be justifiably proud of their work and contributions. I also think that this particular production, given its universal themes and emotional depth, serves as an assured reminder of why musical theatre really is the most powerful of all the performing arts. Equally, given that Abbey is after all an amateur group, it offers clear confirmation, if any were needed, that great musical theatre is by no means confined to the West End!