★★★★✰
After a COVID-enforced hiatus of several years, the Nottingham Operatic Society makes a triumphant return to Theatre Royal with their newest offering, The Hunchback Of Notre Dame. With over fifty performers and a stunning set, this show is clearly a labour of love for which the two-year wait has finally paid off. This adaptation contains elements of both the Disney film of the same name (a few favourite songs are present) and the original Victor Hugo novel.
As is appropriate given that the novel’s main character is the cathedral, the first thing once notices about this show is the set. It is heartening to see the setting so lovingly recreated in a theatre, particularly after the real Notre Dame fire. It is cleverly designed and built, perfectly imitating the arches and stained-glass windows. The gargoyles are, of course, present in their multitudes. When the lights are dimmed further, candles appear just in time for ‘God Help The Outcasts’, which is as stirring to watch as it is to listen to. The two floors of the ‘cathedral’ can be scaled by a ladder or a flight of stairs, depending on what the plot demands of the characters. The most appealing part of this set, however, is the placement of benches on the top level so that the choir—dressed as Notre Dame’s saints—can watch over the story’s proceedings and interact with the characters at will.
This brings us to the fact that the saints and gargoyles are perhaps one of the most creative ways in which an ensemble choir can be utilised. Many of these musical numbers require an ensemble, and occasionally a show will fail to make good use of this and leave the choir standing listlessly at the back. The fact that this show instead uses them to add more life to the production—and echo the use of the gargoyles in the Disney film—is innovative and pleasing. The most notable of these narrators is Jarrod Makin, who plays Saint Aphrodisius (and performs a stunning theatre trick that allows him to briefly appear to be headless.)
There are only two criticisms of the show. The first of these is some of the show’s content—at times the depictions of Frollo’s harassment of Esmeralda feel a little heavy-handed, straying towards showing violence towards her a little excessively. In the context of this being an adaptation based on a book, in which these scenes are present, it does make sense although is still uncomfortable. However, considering that the theatre site lists the show as “recommended age 7+”, there are some scenes—including a near-sexual-assault of Esmeralda—that strike one as distressing to show to such a young audience. In addition, some of the ways in which female characters are treated by the narrative make them feel disposable. Many women in the background are mostly present for Phoebus to attempt to flirt with—Esmeralda herself is defined mainly by male characters’ desires for her and her fate is to further their own narratives. (This fault, however, lies with those who have written the show, rather than the Society who performed it.)
As well as an excellently-utilised ensemble, the show has clearly taken care in its individual castings too. Simon Theobald as Frollo and Sarah Thompson as Esmeralda stand out in particular, with Theobald’s vocals in ‘Hellfire’ being some of the strongest one could find onstage. Frollo’s musical numbers require a particularly powerful voice and presence that is easily found here. Thompson brings a sense of mischief and optimism to Esmeralda that serves her well too. Zak Charlesworth embodies Quasimodo’s character well, his rendition of ‘Out There’ being extremely charming and memorable.
Words by Casey Langton
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