Show: The Hunchback of Notre Dame
Society: Artform
Venue: Bob Hope Theatre
Credits: Music by Alan Menken, lyrics by Stephen Schwartz, book by Peter Parnell, based on novel by Victor Hugo with songs from the Disney film
Type: Sardines
Author: Susan Elkin
Performance Date: 10/04/2024
The Hunchback of Notre Dame
Susan Elkin | 11 Apr 2024 19:49pm
This show was completely new to me and I am very surprised it isn’t better known because it has everything: strong plot, thwarted love, loss and good songs. I haven’t seen the Disney film and, very unusually for me, I have never read Victor Hugo’s novel. So I followed the story with bated breath, chuckling to myself that we seemed to be stumbling from Measure for Measure to The Yeomen of the Guard – but we all know there are only seven stories in the world.
Artform brings a huge cast of thirty to this production which is impressively directed by Matthew Westrip. Many amateur shows have a few extra singers in the wings making sure that the ensemble doesn’t founder. On this occasion – because we are of course mostly inside Notre Dame in the fifteenth century – there is an onstage, mixed choir sitting, behooded as grey monks on two levels behind wooden pew markers as if they were in choir stalls. Sometimes they sing well but there are problems with sightlines and noses-in-copies so MD Hannah Ockenden-Rowe has to work very hard to keep it all together. But they look, and usually sound, suitably atmospheric.
Quasimodo (Daniel Lawrence) is born disabled to the brother of the future Archdeacon of the cathedral (Frollo – played by Guy Plater) and his Gypsy girlfriend. Because the child is orphaned Frollo takes Quasimodo in and keeps him confined in the cathedral where his only friends are statues and gargoyles. Then along comes Esmeralda (Jani Nelson-Ferns) an attractive Gypsy who is kind to Quasimodo and captivates him but comes to love someone else (Phoebus – played by Shane King). Don’t go to this show for a happy ending although good does eventually triumph over evil.
I like very much the sensitive exploration of what it means to have a disability and/or learning difficulties – then and now. Everyone is a human being with needs and feelings. This is also a piece about racism and intolerance. Why does the Church loathe the Gypsies so much? There are answers in this show. And people like the chilly and chilling Frollo are all around us in 2024 so it feels very topical.
The story is told by the ensemble who speak or sing short narrative statements – rather in the manner of a Greek chorus. It means that everyone on stage has a solo role and they are all strong and convincing – whipping their hoods and robes on an off as they transform from monks into citizens or members of the Gypsy community. Choreography by Rochelle Bisson is outstanding. She creates intriguing tableaux for the gargoyles on the cathedral roof. When a group of monks stand in a line, they’re in height order. When the Gypsies dance it’s so infectious you want to leap up and join in.
And so the principals and what a fine line-up they are. Lawrence, whose character is physically created on stage with a back pad and dismantled again at the end, finds all the pathos and unhappiness in Quasimodo but also invests him with poignant dignity. And Plater, tall and icy in his white robes beneath which are urges he isn’t supposed to have, is a fabulous contrast. Both men sing beautifully too.
King is warm and decent as Phoebus and he too sings impressively. And I really liked Chris Hopkins as the mercurial, irrepressible Clopin who cheerfully leads the Gypsies and packs the role with fun and joy to create a colourful contrast with the dourness of the cathedral.
If, however, there’s a star in this show it’s Nelson-Ferns as the feisty Esmeralda. Gypsy she may be, but the character has more kindness, decency and principle in her than any monk or priest and Nelson-Ferns brings that out in spades. Whether she’s making friends with Quasimodo, falling in love with Phoebus or repelling Frollo she is totally convincing and her singing voice would grace any stage anywhere.
Not forgetting the wonderful direction from Matthew Westrip who uses the cast brilliantly, bringing to life the beautiful cathedral and haunted back streets of Paris, telling the wonderful story of Quasimodo, Frollo, Esmerelda and Phoebus. Oh, and that Clopin chap!
I’m sure it was a mistake but this review seems to omit the mention of the impeccable direction from Matthew Westrip in which the show would not have been what it was.
P.s. There are 42 people in the cast and it’s Joni Nelson-Ferns not Jani
A review of this production surely requires a mention of Matthew Westrip’s confident and thoughtful direction which ties the whole show together and is its beating heart.
This show would not have been possible without the artistic vision and masterful direction of Matthew Westrip. He curated a team of the most talented amateur performers and birthed a show of a professional calibre. His passion, kindness, tireless hard work, keen eye for detail and talent for storytelling have led to the creation of something truly special. It was an honour to be part of this company and a privilege to be directed by Matthew. Some may argue, he’s the real star of this show.
It is a shame that in Ms Elkin’s original review on her own website she details the direction by Mr Westrip as “impressively directed”. It is a unfortunate this editorial oversight has occurred and looking forward to it being rectified to align both reviews and intent. If word count was an issue then perhaps a suggested edit might be for the overly long personal introduction.
Matthew Westrip…the first person we should mention in each review of this show.
This engaging, thought provoking and challenging piece of theatre would have been impossible without his direction.
Although this article fails to mention it, Matthew Westrip was the perfect director for this production and has transported already a few hundred people to Notre Dame just by sitting in their seat.
The single most influential and critical factor to the success of this production, is the leadership, direction, vision, blood, sweat and tears, of the incredible director, Matthew Westrip. His Herculean efforts and intelligence across acting, movement, storytelling, lighting…(the list is endless), is the most inspirational I have ever seen. If there is one person who deserves any mention, it is him.
The direction by Mathew Westrip should not go unnoted. This incredibly complex, demanding technical production was brought to life by his hand. Creating a beautiful piece of theatre, styled true to the Notre Dame setting in a fun and glorious manor.