Any stage musical derived from a canonical literary source—in this case, Victor Hugo’s 1831 novel of the same title—and accompanied by music written by the legendary Alan Menken, and lyrics from the renowned Stephen Schwartz, is always likely to be nothing short of pure excellence. Taking on such a daunting show could have been a tall order, but Captivate Theatre’s mesmerising production of The Hunchback of Notre Dame certainly delivered. The calibre and quality of the set design, costume, staging, lighting, characterisation, and vocalisation were worthy of West End status.
A theatre show can be entirely made, or unravelled, by its ensemble. Here, the ensemble not only made the show, but provided it with its entire essence. I found myself enthralled by and completely absorbed in every ensemble scene: the sensuality, drama, and colour of the choreography, coupled with the impression of awe left by their harmonies, transported the audience seamlessly to late-medieval Paris. Both the West End and Broadway seem to shy away from this show, in part due to the high production costs associated with a full choir and orchestra. Though there was a sizeable ensemble here, the sound that erupted from them was enough to demonstrate that quantity is never quite as impressive as quality.
A large portion of the ensemble also gave remarkably convincing performances. Their commitment to character remained consistent throughout, even when the focus was not directly on them, and it made a significant difference to the overall production. That level of attention to detail is what elevates a performance beyond the merely good, and it is ultimately what separates a good actor from an incredible one.
That strength extended beyond the ensemble, with the principal cast delivering performances of equal merit. The role of Quasimodo was expertly played by Alex Fraser; his physicality in portraying Quasimodo’s disability, the astuteness of his acting, and his vocals were all remarkable.
Camila Lopez, as Esmerelda, had a true star quality about her. Vocally, however, she was not quite as strong, especially alongside such a formidable ensemble, which occasionally affected the impact and audibility of some of her songs, given the number of solo parts she was given as leading lady. However, her characterisation was so compelling that she was able to overcome these shortcomings, and there was an undeniable magnetism to her performance.
The visual scope of the production is also worthy of note. It is always impressive when the work of an entire creative team, extending far beyond those visible on stage, is unequivocal in the finished production. Here, the care and commitment invested in the show could be felt across every aspect of it. Tackling a musical that demands scale on every level—the cathedral itself, its “top of the world” bell towers, and the winding, labyrinthine streets of Paris—and managing to portray these settings convincingly is a real feat. I particularly loved the scenes set in Quasimodo’s hideout; the use of ladders, boxes, and ensemble members as statues gave dimension and height to what could otherwise have been a flat, conventional theatre space. The well-known sequence of Quasimodo swinging down from the cathedral to rescue Esmerelda was executed extremely well, while the creation of the pyre was similarly inventive. Even Frollo’s fall from height at the play’s end was brilliantly performed.
Bold, fearless and shrewd, The Hunchback of Notre Dame well and truly hit the mark, delivering a production as ambitious as it was accomplished.
The Hunchback of Notre Dame has now finished its run at The Edinburgh Academy.
Image by @rosie.Sco, provided to The Student as press material.
