Review By M.T. Bennett, Front Row Reviewers
The Hunchback of Notre Dame, based on an 1831 novel by Victor Hugo and the classic 1996 Disney Film, opens at the Murray Park Amphitheater and you don’t want to miss this show. Interestingly enough, the first time it was performed on stage was in 1999 in Berlin. The first time it was performed in the United States was in a 2014 adaptation. It has an ambitious and beautiful score, yet we are blessed as the cast at Murray City Cultural Arts does an absolutely flawless job. There is not a single weak voice or missed note in these songs nor a missed step in the choreography. The play follows Notre Dame’s bell ringer Quasimodo in contrast to the self-righteous Archdeacon Claude Frollo. Asking us what makes a monster and what makes a man in a tragic story of love, lust, prejudice and friendship is what plays out for us in Murray Park Amphitheater.
Murray Park Amphitheater is tucked away in Murray’s large city park and seeing set on the stage we are bedazzled at the sanctuary of Notre Dame. Stained glass windows, bells hanging above, and a 28-person choir split in half flank the stage. With this setup, we occupy the area where a congregation would sit and observe mass. It is almost a religious experience for us, transfixed as Hunchback unfolds.
Co-Directors Candy Tippetts and Alan LaFleur have assembled an incredible cast, crew, live orchestra, and choir to bring The Hunchback of Notre Dame to life in a way that gave me chills. There is an intricacy throughout in the sets, choreography, singing, music, and it all runs beautifully and shows the work the directors put in. The trust the whole production has in the directors’ expansive vision is obvious and touching. LaFleur is also the choreographer and his direction in this area was masterful as shown in the entangled dance numbers, multiple sword fights, and more.
Set designer Dwight Western has done a masterful job with his use of the set and space to create the cathedral on stage. Somehow, they are also able to turn the inside of a cathedral into the party streets of Paris for the “Festival of Fools”. The words that came to my mind when considering Western’s design choices are “symmetry” and “framing” as the set serves to create a beautiful and balanced tableau. Additionally, I was impressed with even the simple but clever uses of wooden benches that are at once pews, then a dance stage, a tavern bar, prayer desk, cathedral banisters, and more when the scenes require it.
The lighting must have been tricky as it starts with natural outdoor amphitheater lighting but shifts as the sun sets. However, as it got darker, the stage comes more alive as the stained-glass windows shine and electric candles provide flickering cathedral lighting. The darkening lights almost seem to mirror the darkening tone of the story as it progressed. Lighting Designer Lynn Chatterton has done a stellar job.
Costumer Tammy Wilson and Makeup Artist Lindy LaFleur give us beautiful and believable looking characters. As Quasimodo wipes grease on his face to show his deformity and dons the twisted back, it shows the thought that went into designing each character. The idea of having the flanking choir start the play by descending through the audience, dressed in friar robes and singing a Gregorian-esque chant is just delightful.
The music in The Hunchback of Notre Dame is incredible and demanding. Yet, in all areas this production delivered. Having a live orchestra is such a fun surprise and they nailed it. This production has a 23- piece orchestra and conductor Nate Holcomb is a focal point and provides steady direction to the musicians and performers. Also, he is obviously a top-notch leader who watches out for his team as he was seen throwing candy to the members of the orchestra during intermission. He does what he can to keep the energy and spirits up.
Each of the actors bring the production to life and obviously love every minute of it. There is not a weak member anywhere onstage, everyone brings their A-game. During the play, my wife and I kept debating who was stealing the show because everyone has such amazing talent.
Claude Frollo, played by Layne Willden, enters the stage with an immediate and huge presence and a voice to match. He plays the imposing and intimidating zealot very well. With all the piety of Frollo, Willden is still able to humanize him, meticulously showing Frollo’s very serious faults of prejudice and selfishness. When he makes inappropriate and immoral advances toward Esmeralda, the audience cheered when she rebuffed him with a slap.
Mia Crutch stars as Esmerelda, whose clear and beautiful voice brings necessary power and poignance in “God Help the Outcast.” Crutch tugs at everyone’s heartstrings. She also won more cheers as she stuck up for herself in the face of death and spits in Frollo’s face. It is easy to see why Esmerelda captures so many hearts in The Hunchback of Notre Dame; Crutch captures the hearts of the audience.
Captain Phoebus, played by James Dixon, is full of zest, fun, and (forgive the pun) a cavalier attitude. Yet, under this surface, Phoebus struggles with PTSD from his time on the front. Dixon deftly holds this dichotomy in one person, one character and we are treated to a Phoebus who can only be described as a “troubled goofy jock” in present vernacular. Dixon shows the subtle growth in Phoebus as these dueling sides of the character reconcile in the end and he becomes a nobler person.
The Gypsy King, Clopin, is a character that I had big expectations for Clopin has a big responsibility musically with large numbers and is a difficult character, played like a sinister but silly jester. Nate Smith is the perfect person for the role. Flaboyant, fun, colorful, and full of presence, Smith’s voice leaves nothing to be desired as he fully delivers in every musical number. He is funny and fun during the Festival of Fools but also somewhat scary when coldly singing about killing intruders to the Gypsy hideout. A sublime performance.
Finally, Quasimodo, brought to life by Patrick O’Boyle, enters the stage out of character and in a dignified way sings, “What Makes a Monster and What makes a Man?” As he does so, he wipes grease paint on his face and his fellow cast members attach a jacket and fake twisted back onto him. It was an incredible thing to behold as O’Boyle changes and drops into character, crouching, twisting his right leg, letting his arms swing free, and with a foolish grin he reaches up to a rope to ring the bells. Before the audience’s eyes, he transforms into Quasimodo. A masterful device by co-directors Tippetts and A. LaFleur O’Boyle brings an energy, levity, and adorable attitude along with the depth needed with Quasimodo’s difficult journey of abuse and unrequited love. O’Boyle’s voice is clear as the bells Quasimodo loves. His talent is truly amazing, strong, poignant and in all ways believable.
Get your family and friends to Murray City Park for a memorable evening in the Amphitheater as you are transported from Utah to France. You will be treated to a production that has levels of talent above the rest. You don’t want to miss Murray City Cultural Arts’ The Hunchback of Notre Dame.
Murray City Cultural Arts presents The Hunchback of Notre Dame by Alan Menken and Stephen Schwartz.
Murray Park Amphitheater, 495 5300 S, Murray, UT 84107
July 18-20, 22, 25-27 8:00 PM
Tickets: Adult $12, Children/Senior/Military $10
Contact Info: Murray Cultural Arts Website at the bottom
Murray City Cultural Arts Facebook
From Murray City Cultural Arts’ website: Concessions & Outside Food: Our concessions typically serve a variety of snacks and drinks (no meals) and is located next to the Ticket Office. You are welcome to bring your own food into the venue, however, alcoholic beverages and large coolers are not allowed per amphitheater policy. Smoking is also prohibited at the venue or within Murray Park
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