By LeAnna Hamblin
As the curtain rises, the audience is instantly transported to the streets of Paris, France, at CenterPoint Legacy Theatre’s mainstage production of The Hunchback of Notre Damein Centerville, Utah with music by Alan Menken, lyrics by Stephen Schwartz, book by Peter Parnell, and based on the 1831 novel by Victor Hugo. The stage adaptation of Hunchback made its United States debut in San Diego at the La Jolla Playhouse in 2014. Hunchback has been a favorite for community and high school theaters around the world. Director Alane Schultz has assembled an incredibly dedicated and talented creative team and cast to present this classic story. This review is for the T/TH/S cast.
Trying to protect Quasimodo (Alex Young), the lovechild of Jehan Frollo (Derek Marsden) and the gypsy Florika (Britany Bush), Dom Claude Frollo (Tyler Hansen) hides the hunchback in the bell tower. Meanwhile, Quasimodo wants to have a chance to mingle with the gypsies during the Feast of Fools celebration. Lead by Clopin Trouillefou (Kurt Christensen), the gypsies take advantage of the day to bring laughter and light to the otherwise dark and dreary city. Frollo is intent on ridding the city of the gypsies and permission is granted by King Louis XI (Xavie Turner). Frollo takes advantage of his newfound power to fight against the gypsies and his internal demons, which have been brought on by his chance meeting with the mesmerizing gypsy Esmeralda (Emily Wells).
Young gives an outstanding performance as the impressionable Quasimodo. His effortless voice brings light to an otherwise dark tale. He connects with the other actors in a way that makes one feel as if he has been a part of their lives forever. His submission to Frollo is vastly different from his instant friendship with Esmeralda. Young’s standout moments include the numbers “Out There” and “Heaven’s Light” where his vocals are clear and precise. The intensity of the final scene produced unexpected emotions for audience members, including myself.
Wells’ portrayal of Esmeralda is enticing. When she first appears onstage, Wells plays Esmeralda as a light-hearted character, but the audience quickly learns there is a more serious side to the gypsy. Her life is changed when she meets Quasimodo and subsequently altered when Frollo appears. Wells’ strength is apparent as she leads several scenes, including “Rhythm of the Tambourine” where she is playful and flirty, “God Help the Outcast” where she is humble and pleading for others, and the prison scene where she must muster up all her strength to ward off the dominating Frollo. Wells’ connection to Esmeralda makes her performance authentic and memorable.
Dom Claude Frollo, antagonist in the story, requires Hanson to dial in to the emotion needed to successfully play this demanding role. He stays on the edge of darkness throughout, never breaking character. Hanson’s most impressive moment comes in the number “Hellfire” where his intensity is magnified by the creative lighting designed by Mark Rencher.
Christensen’s enthusiasm as Clopin, the leader of the gypsies, is contagious. While serious when needed, Christensen also brings fun and light to the stage. His performance of “Topsy Turvy” is energetic and engaging. Russell Maxfield, who plays Phoebus de Martin, captain of the guards, and Esmeralda’s love interest, has a ruggedness about him that perfectly suits this role. His chemistry with Wells makes the relationship between Esmeralda and Pheobus intense and tender at the same time. The emotion we see and feel from Pheobus at the end of the story is authentic.
Music directors Derek Myler and Maurie Tarbox should be very proud of the work they have done with this talented cast. While the solo pieces are very impressive, the choral numbers are equally impactful. The opening number, “Olim,” gave me chills. Much hard work was put into the music for this production in order to balance the harmonies throughout the Gregorian chant-based music.
The set is used to create a space where the story can come to life. Designer Scott Van Dyke and scenic charge artist Cynthia Klumpp have worked together to create an impressive design, including a bell tower that comes to life. The attention to detail is noticeable and the design is precise and intricate, utilizing every inch of the stage. Stage manager Marinda Maxfield and assistant stage manager Taleen Ericksen, along with their crew, make the movement of the set look effortless as they help the pacing of the story move forward.
The costumes, designed by Tammis Boam, are beautifully presented. They pay tribute to the time period and are suited for each individual character. The most impressive costume is that of the beheaded Saint Aphrodisius (Jared Call), which was designed to make the beheading look real. Boam does an incredible job with the prosthetics for Quasimodo, making his deformities look real without detracting from the innocence and purity of the character. Choreographer Ashely Carlson does a fantastic job using the strong ensemble cast to help tell the story through movement.
CenterPoint Legacy Theatre’s production of The Hunchback of Notre Dame is impressive and touching. My heart is changed because of this story. I hope that audience leaves with a better understanding of friendship and love as they live through the experience of true love as shown by Quasimodo. This is a story that everyone should have the privilege of witnessing.
CenterPoint Legacy Theatre presents The Hunchback of Notre Dame, Music by Alan Menken, Lyrics by Stephen Schwartz, Book by Peter Parnell.
CenterPoint Legacy Theatre, 525 N 400 W, Centerville, Utah 84014
September 27-October 26, 2019, 7:30 PM, Monday-Saturday, Matinee Performances, Saturdays 2:30 PM, ASL Performance, Saturday, October 5, 2019 2:30 PM
Tickets: $17.75-$28.75 tickets@centerpointtheatre.org
Contact: 801-298-1302
CenterPoint Legacy Theatre Facebook Page
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