By Alayna Een Hanna
The bells of Notre Dame are ringing again in Utah, as the West Valley Arts Center puts on an exquisitely crafted production of The Hunchback of Notre Dame. The tragic story by Victor Hugo was memorably adapted as a kid-friendly Disney film in 1996, and the stage adaptation fits artistically between these two sources: thematically darker than the animated film but with the pervading hope and beauty that the songs provide. As a longtime fan of this musical, I was delighted to see new directions, depth, and nuance in the performance, spurred by director Kate Rufener (with artistic director Vanessa Olson and assistant director Roberto Fernandez-Rosa). It is also a technical marvel, with well-done instances of rigged descent.
Staging a performance in the round provides both a challenge and an opportunity, and West Valley Arts expertly addresses both. The cast has to be small, but that allows for greater individual character development. The stage space is limited, but it spills into the aisles and a trio of platforms, bringing the audience into the scenes. Adam Flitton’s set design copies the cathedral’s iconic stone benches and archways for the main stage, which provide a versatile basis for the scenes. The bells and wooden staging come in for scenes in Quasimodo’s tower.
Quasimodo is played by Taylor J. Smith, who really hits the humor and physical comedy in his lines with Phoebus as well as the subservient fear in his conversations with Frollo. It’s a demanding vocal part, and Smith wows the audience with his powerful long-held notes. Frollo is played by Chase Petersen, whose deep voice resonates powerfully in his songs, especially “Hellfire,” which was strengthened by the compelling incorporation of a statue of Mary (beautifully performed by Sophia Morrill Mancilla). James Carter is Captain Phoebus, a lanky ex-soldier looking for amusement who finds a new purpose instead. The portrayal of PTSD in “Rest and Recreation” is a triumph of Marilyn Montgomery’s choreography and storytelling. Carter is suave, sincere, and sweet—especially in the jail scene with Esmeralda. Their song “Someday” is the emotional zenith of the play, and they perform powerfully.
The gypsy leader Clopin doubles as primary narrator, and Wesley Valdez fills the role with mischief, flair, and compassion—especially in his brotherly care for Esmeralda and interactions with Quasimodo. Beatriz Melo is an assertive Esmeralda. Her singing and dancing—so key to the role—are great, especially with the scarves in “The Rhythm of the Tambourine.” Her interactions with the male leads drive the plot, and each is interesting and convincing. The hardworking ensemble includes gargoyles, saint statues, choral parts, and gypsies who bring the memorable songs and scenes—both playful and profound—to life.
The finale plays out under the light of a cathedral window, emblematic of the hope for a better world called for in the final songs as the cast members embrace one another in a touching moment of unity. Unlike the ever-present cathedral, the eponymous musical is only playing through the end of the month, so get on “Out There” to the West Valley Arts Center and see a spectacular production of The Hunchback of Notre Dame!
*Audience members should be aware that flashing lights are used in the performance and that there are minor scenes that include violence, assault, and self harm that would amount to a PG film rating.
West Valley Arts presents The Hunchback of Notre Dame. Based on the novel by Victor Hugo. Music by Alan Menken, lyrics by Stephen Schwartz, book by Peter Parnell.
West Valley Performing Arts Center, 3333 S, Decker Lake Dr. West Valley City, UT 84119
August 8–30, 2025 at 7:30 PM. Thursdays–Saturdays (with Saturday matinee)
Tickets: $22–35
Playbill
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Contact: 801-965-5140, artsboxoffice@wvc-ut.gov
Box Office Hours: Wednesday through Saturday 10:00 AM to 8:00 PM
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