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Show: The Hunchback of Notre Dame
Society: Nottingham Operatic Society
Venue: Theatre Royal
Credits: Music by Alan Menken, Lyrics by Stephen Schwartz, Book by Peter Parnell
Type: Sardines
Author: Janet Smith
Performance Date: 25/10/2022
The Hunchback of Notre Dame
Janet Smith | 27 Oct 2022 03:43am
QUASIMODO played by Zak Charlesworth
Nottingham Operatic Society is one of the oldest musical groups in the country and is just twenty-eight years younger than this Victorian venue. Formed in 1893 to perform Gilbert and Sullivan operettas, it has evolved with the musical times, travelling though the classics of the golden age of Broadway and, more recently, performing shows from the pens of Andrew Lloyd Webber, Frank Wildhorn, Jerry Herman and Stephen Sondheim.
Since Victor Hugo’s 1831 original novel Notre-Dame de Paris, a tale of passion, hope and redemption set within the realms of the mighty Gothic cathedral, it has inspired scores of interpretations in many artistic genres.
Postponed three times by pandemic lockdowns, Nottingham Operatic Society’s retelling promises ‘one of the biggest and most spectacular shows from the Society, with a full orchestra, newly designed set and costumes, and a cast of over 50 performers’. Originally developed by Disney Theatrical Productions, the music is by Alan Menken, lyrics by Stephen Schwartz and book by Peter Parnell. I am here at the pre-opening night rehearsal, and looking forwards to it enormously.
As I’m reviewing at the final rehearsal, the theatre itself is closed, and we’re conducted through a myriad of narrow grey corridors with doors leading off, across high-ceilinged rooms, up and up, and then down stairs to the auditorium; an apt introduction to The Hunchback of Notre Dame!
Onstage, spanning the entire width and almost the entire height of the area, is a wooden structure representing the Cathedral. Within it are architectural features of arches, grills and carvings, representative of an ancient religious centre. Through Norman style ground level windows, we can glimpse into other areas. Central are two mighty doors. Side stairs lead to an upper floor and gallery, where from a balustrade, pale grey gargoyles look down. Representing the exterior of the walls, and world beyond, are wooden barrels.
The show opens with the ringing of the bells and the monks entering. Smoke is issuing from beyond the Cathedral. Only then do I notice that Quasimodo has entered, with the monks circling him.
The theme of the show is ‘what makes a monster and what makes a man?’ On the one hand is Quasimodo, innocent, gentle, kind, forbad by his uncle from ever leaving his ‘sanctuary’; whilst on the other is Quasimodo’s uncle and guardian, Archdeacon Dom Claude Frollo, full of self-doubt, twisted and tortured by lust combined with revulsion, for the gypsy dancer Esmeralda. Throw in a handsome Captain of the Guard, a Gypsy King, a gypsy encampment bringing its boisterous, tempting, traditional festivities to the very walls of Notre Dame, and you have a potent brew for trouble.
As in the original Victor Hugo novel, the show involves the Notre Dame as a major protagonist, and uses its stone gargoyles and grey statues as Quasimodo’s only friends. The gargoyles, removable from the balustrade are used effectively, held up in front of stone-coloured clad figures. Representing the thoughts of Quasimodo’s subconscious mind, I would have liked some differentiation in the speech patterns, to match the interesting characters of their faces.
As in most retellings, there are changes in narrative, and characters, and this stage version by Peter Parnell uses narrators to relate parts of the story, not dissimilar to the third person narrative that Victor Hugo uses in his novel. This is the stage script, but I would prefer the story to be told through its protagonists, as eleven narrators, though they all play their parts excellently and with clarity, distance myself from the characters.
This is a huge cast of some fifty performers, and around twenty musicians. As well as the five main characters, there are nine smaller character roles, plus a Gallery of twenty-two Kings and Queens Choir, plus a Booth Choir of four, and an Ensemble of four. All are vocally fine, and visually sumptuous. Moving them all around the stage must have been an enormous task for Director & Choreographer Andrew Miller. This is done effectively, although at tonight’s rehearsal, it does sometimes feel as if they’re still feeling their way.
Dance scenes are effective, and the costume throughout absolutely gorgeous. In fact, the whole musical is a gluttonous feast for the visual senses. A camera discretely snaps away somewhere. There will be stunning promotional shots.
There are times, especially in the huge choral numbers, that many of the words are unintelligible; perhaps because the music, played admirably, is a little too loud, or because the sound isn’t quite adjusted. This must be a difficult balance. But it is vital that lyrics and lines are heard, otherwise there is a distancing from the developing drama.
A smidgeon more passion wouldn’t go amiss; and Esmeralda, played by Sarah Thompson, who cuts a fine figure and has a lovely voice, does need a bit more fire in her gypsy dances; but this is a rehearsal, and tomorrow will, I’m sure not be afraid to go the whole hog. Some of the action scenes are a little clunky, and Quasimodo’s rescue of Esmeralda from the bonfire does require those around to stand and do nothing to stop him. Captain Phoebus de Martin, played by Richard Groves, is the love interest, and has a fine singing voice; but he needs to be a little more disabled by his stab in the back by Archdeacon Frollo, as when led by Esmeralda, he climbs the stairs covered in blood with apparent ease. Clopin Trouillefou, the Gypsy King, played by Chris Grantham, takes a good strong part, and Dom Claude Frollo, the suffering tempted Archdeacon, played by Simon Theobald, makes a good job of reflecting his sore temptations onto Quasimodo.
The quality of all the singing voices is very fine, and Quasimondo, played by Zak Charlesworth, does I notice, get approving yelps from within the small audience watching this rehearsal. But it would be wrong to single anyone out within such a huge cast who have been rehearsing for months, as well as working all day at their day jobs. Everyone involved, including the invisible support crew behind the scenes, should be congratulated in bringing such an ambitious spectacular musical to their home stage, to entertain the public of Nottingham.
The production lasts from Wednesday 26 October until Saturday 29 October, with two shows daily, apart from Thursday, which just has an evening performance.
This review seems very ‘cobbled’ together and not what I would expect from an experienced reviewer. For example why does it just say Quasimodo played by Zak Charlesworth at the top of the review. It makes the reader think this is a one man show. Also a review from a dress rehearsal should not be made public but perhaps just fedback to the company. The review is also not inline with all the other reviews seen for the actual performances.
Erm… I believe that it says “Quasimodo played by Zak Charlesworth” as a credit/reference to the photo (most people would reaslise that). It was also cleared with Nottingham Operatic Society‘s creative team beforehand to review this dress rehearsal and the review clearly states “I am here at the pre-opening night rehearsal, and looking forwards to it enormously.
“As I’m reviewing at the final rehearsal, the theatre itself is closed”
…could we just ask in what way does this review differ frim the others?