Review By Cynthia Terry, Front Row Reviewers
In American Fork, Timpanogos Theater presents a breathtaking performance of Victor Hugo’s The Hunchback of Notre Dame. This classic tale of love, bravery, acceptance, and redemption is truly a mind-altering experience as the audience is carried away by the powerful music by Alan Menken and Stephen Schwartz. The picturesque set and incredible acting create a powerful experience that can’t be forgotten.
The theater’s atmosphere is one of anxious anticipation as all eyes are instantly drawn to the stage, where sharp spotlights jut out at odd angles, shining through the staircases to create dramatic imagery of shadows and light. Smoke drifts around the stage, enhancing the contrast even further. As the music begins, the hairs on my neck stand on end and a hush sweeps through the audience while they sing the words, “Kyrie Eleison—Lord, have mercy.”
The energy onstage is palpable as the performers lead us through each breathtaking scene and the pacing is deliberate, allowing each character’s moral dilemmas to unfold naturally while tension grips the audience in their seats.
Adam Moore surprises with his flawless performance as Quasimodo. His body language says everything—his walk, his crouch, his shy head bobs, his swinging from the staircases, and his use of sign language throughout says more than words. His innocence is a sharp contrast to Frollo’s manipulative character. Moore’s standout moment happens during the song “Made of Stone.” His emotions seem to vibrate off of him, submerging the audience with his pain, longing, and the shame of wanting to be someone different—someone who can no longer disappoint.
Teresa Jack as Esmeralda gives a fierce representation of a strong-willed woman fighting for a better existence. She commands the stage with her spunky personality. While still maintaining her feminine attributes, she brings strength and determination to her character. With a realistic slap, and a powerful spit in the face, she stands her ground against evil, teaching women to stand their group and stick to their morals.
Stanley Johnson plays Archdeacon Claude Frollo, a dynamic character tortured by his fight between devotion to God and the pull toward worldly pleasures. His distorted relationship with Quasimodo is expertly portrayed through his uncanny ability to shift from a tender whisper to a monstrous roar within seconds, reminding the audience that no one is entirely good or evil—just human.
Casey Copier plays the charming Captain Phoebus. Haunted by his past, he tries to move forward by finding a deep love and discovering who he is in the process. With his lighthearted banter, Casey easily wins the hearts of the audience. However, he adds an extra layer of depth to his character by displaying a range of raw emotion as he copes with Post Traumatic Stress Disorder. It shows the audience that he is more than just a handsome hero. He is flawed and a little broken, but he learns how to fight for what he believes is right even if it costs him his high ranking position, and possibly even his life.
Aaron Williams as Clopin brings mischief and loyalty to his people. His boisterous voice and lively personality bring an infectious energy to the stage. He effectively captures the essence of a protective older brother while also guiding the audience through the story with an articulated narrative. His role as a leader is quickly established during the Feast of Fools when Quasimodo first reveals his face to the village. Williams completely directs the fearful energy into a game.
This show is nothing without the extraordinary ensemble. From gypsies to villagers, gargoyles, saints, soldiers, and kings, they prove the saying, “There are no small roles.” The indescribable passion that the ensemble brings to the stage is so powerful that I could not hold back tears. The intense vocal range required of them is unbelievable and when they all sing together with perfect harmony, the audience is hit with a wall of energy that takes all breath away. In addition to the musical perfection, the ensemble share their physical talents through dance, gymnastics, and contortions. A special shout-out goes to Cole Wattleworth for his incredible tricks, especially during the song, “Topsy Turvy.” I also appreciate the gargoyles whose genuine friendship gives Quasimodo the strength and determination to find his worth and never give up.
Director Andrew Jefferies and Assistant Director Eric Smith use sharp contrasts throughout the play—loud/soft, light/dark, high/low, good/evil, monster/man. In doing so, they develop deep emotions that affect every soul in the auditorium. Through their masterful direction, they express that, in today’s world, so many people are pushed aside because of what they believe, how they look, the way they talk, or even who they love. Too many people feel like there is no place for them because they don’t fit into a mold of what’s considered to be normal. Jefferies leaves the audience with the beautiful message that we can make a difference. We have the power and the responsibility to create a kinder world full of pure acceptance and love.
Set and lighting design by Caleb Wallengren immediately draws the audience in with its arched windows, a stained glass feature, and large bells that paint a majestic cathedral atmosphere. The moving stairs play a key role in the blocking, enhancing dynamic transitions. During “Court of Miracles,” spotlights shining through these stairs create scattered shadows, adding an element of mystery. I particularly love the blood-red lighting at the end of “Hellfire,” which heightens the sense of urgency.
Sound design by Chari Bennett maintains a perfect balance between vocals and backing music, ensuring clarity in every song and spoken word. The costume design by Nicole Madsen adds time period realism to the play. Esmeralda’s green skirt with the purple corset is stunning and matches well with Quasimodo’s color tones.
Choreography by Stephanie Cole brings the show to a whole new level. The group dance numbers have so much energy and life to them. I especially love the unity of the movements that instill a sense of community. In addition to the dancing, the fight choreography by Eric Smith is incredibly smooth, with swords moving quickly, adding to the suspense of the fight scenes.
Music direction by Chari Bennett is outstanding. The score is complex, and the musical dynamics bring an intensity that leaves the audience in reverent awe. With entire songs in Latin, it is evident that Bennett has skillfully guided the cast to master both the technical and emotional challenges of the music, creating a complete immersive experience.”
With so many standout moments, it’s impossible to choose just one. The song “Esmeralda” leaves the audience gasping with its deep red lighting, moving stairs, and papers flying. However, the most impactful moment for me is when the cast, dressed in white, sings about the world’s cruelty but holds on to the hope that things will change. I love the message that good will ultimately prevail.
The venue at The Valentine Theater in American Fork, UT enhances the production with its intimate setting, making the audience feel connected to the performance. The special Monday night Dress-up and Trick-or-Treat event adds extra fun for families.
The Hunchback of Notre Dame deals with dark themes, including moral dilemmas and internal conflicts, and may not be suitable for all audiences.
Timpanogos Community Theater’s The Hunchback of Notre Dame is a life-altering theater experience. The strong performances, powerful direction, stunning visuals, and incredible music make this production a must-see. It leaves audiences with hope that someday, the world will be kinder and love will triumph.
Timpanogos Theater presents The Hunchback of Notre Dame by Victor Hugo.
The Valentine Theater, 839 E 9th N, American Fork, UT 84003
October 4-19, 2024. Performances on Mondays, Tuesdays, Fridays, and Saturdays. Special Monday night Dress-up and Trick-or-Treat event with the cast following the show.
Tickets: Available at TAFtix.com
Contact: info@americanforkarts.com
Facebook Page: Timpanogos Theater Facebook Page
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The Hunchback of Notre Dame press reel
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