Review by Jennifer Mustoe, Front Row Reviewers
Nestled in Orem at the SCERA Center for the Arts resides a beautifully executed rendition of The Hunchback of Notre Dame, a new musical based on the Victor Hugo novel and the Disney film. Make no mistake, this production is completely its own delight, and one I was thrilled to attend. I may be one of the few Disney fans who hasn’t seen the animated version of Hunchback, but that only enhanced my experience. However, my companion has seen the film many times and was still completely entranced with the musical we were privileged to review on Friday night.
As you walk into the coziesh theater, the beautiful set designed by director Michael Carrasco will amaze you. The realistic quality of stone and ornate rose window, representing the belfry of St. Paul’s Cathedral is stunning. The set looks like rock, the window glistens with colorful patterns.
Keith Allen as Clopin Troullefou, King of the Gypsies, narrates the show with panache and energy. Allen fully represents the entertaining, street wise, eloquent fellow and his physical acting choices brought me into the story immediately.
Quasimodo, played by Benjamin Oldroyd the star of this story, is called “hideous” and a “monster.” He is given the job of bell-ringer in the cathedral of Notre Dame, which brings him music but also isolation from the city of Paris below–-beauty, and punishment. or protection–or all three? I did some research about the character–it’s interesting to note that in the novel he goes deaf from ringing the bells (which in this production he names each bell–a charming touch) and is taught sign language. I love that this device is added to the show–Quasimodo signs regularly and the most delightful by far is when he signs the word “friend.” It made me choke up a bit. Oldroyd is more than fantastic in the role of Quasimodo, representing the innocent, easily manipulated, kind-hearted soul. Oldroyd limps onstage with grace and even a sense of peace and maturity. But it’s when Oldroyd sings that the theatre vibrates with energy. He is larger than life and makes Quasimodo from a monster to an angel. I can’t really say enough about Oldroyd–his acting is exceptional and his singing is some of the best I’ve heard and I’ve been to New York and London, among other places, and he is a star.
Andrew Lambert who plays Dom Claude Frollo, Quasimodo’s caretaker, is a manipulative villain and Lambert creates his character as sleazy and greasy as they come. When he spits out “boy” referring to Quasimodo, it sounds as if he’s referring to the bell-ringer as if he’s a demon, a monstrosity. Lambert is a base man, his soul ugly, judging all in his imperious manner, defining evil and sins abounding. But he has a secret.
Adam Moore as Phoebus De Martin, Captain of the Cathedral Guard, is at first considered a selfish and arrogant character, but soon falls in love with Esmeralda, played with joy and abandon and a whole lot of spunk by Rose Fletcher. Moore has a pure, strong, wonderful voice and spot on acting ability. His transformation is apparent in the most endearing way and I was grateful his protectiveness and care gave the gypsy hope. Moore and Fletcher’s quiet romance is filled with a rather respectable and growing affection, nothing like Frollo’s harsh, shame-filled feelings. Fletcher’s dancing as she swishes her beautiful gown (Costumer Designer Kelsy Seaver) shows that color can represent harmony and flair, but also that she is approachable, willing to show herself as a strong and confident woman.
Enter the gypsies for the “Feast of Fools” with an annual invitation that the Romanis can come onto the cathedral grounds. Beautiful Esmeralda soon befriends Quasimodo with platonic affection when she sees his gentle nature. It’s unclear if he has a romantic love for her as he may be too immature or too abused to allow himself to experience that under the stern and judgmental abuse from Frollo. But their connection is real and one can feel the inevitable calamity that is to come. Frollo, against his own demand that everyone, including himself, condemn any form of lust cannot deny his “sinful” attraction to the lovely gypsy, which brings his eventual doom, but also the lovely Esmeralda’s as well. Later in the plot Quasimodo and Phoebus both try to protect Esmeralda as Frollo’s lust and rage build.
It may be that my favorite characters, owing to their humorous movements, showing Carrasco’s knowledge of the material but his expertise in guiding them, are the Saints. Made from stone, these statues are Quasimodo’s dearest friends, and give him companionship. They also give him instruction, “Don’t let her get away!” regarding Esmeralda. The saints stay still until only Quasimodo is around and then they move with abandon, going back to another pose, completely different than the former one, which is both entertaining and fascinating. Carrasco embraces the importance of these friends with humor but convinces us that the saints care for Quasimodo. This constant movement never thwarts this scarred man, and seems like it gives him a space of his own, one that is fluid and caring.
Make-up designer Becky Cline outdid herself–the saints’ faces are fantastic. I literally couldn’t take my eyes off of them. Along with Seaver’s gray, stone-colored embellished costumes, the stone figures are beguiling. Seaver also costumes all the actors authentically, lending another option to shift from flat characters to believable, realistic people.
These saints have some of the best voices in the show. They are: Krystal Bigler as Ecclésia, Sarah Glancy as Synagoga, Lindsey Lebargon as Jeanne D’Arc, Tanner Lybbert as Saint Stephen, Shawna Packer as Saint Genevieve, and Xander Richey as Denis of Paris, Stan Peck as Saint Aphrodisius. I cannot say enough about not just the talent these performers have, but their comedic aspects give this rather intense (sad, violent, passionate) musical a light and enjoyable respite.
Of note: The production has one of the best sword fights I’m seen onstage. I felt a little concerned that it was going to draw blood. Which is great!
Though many of our readers know the end of Hunchback of Notre Dame, I am not going to spoil it for those who’ve never watched the Disney film. I want to commend director Carrasco for giving this powerful musical the right balance of hopelessness and sorrow, but taking us to a place of peace and hope, and sometimes even joy. This isn’t always carried out in other productions, so his willingness to show both aspects using finesse and the necessary and commendable devices leaves the audience with a sense of understanding and completion.
I thoroughly enjoyed SCERA’s Hunchback of Notre Dame. It enthralls, delights, but gives an opportunity to look at our own lives with more scrutiny.
The SCERA Shell presents The Hunchback of Notre Dame, written by Tab Murphy, Irene Mecchi, Jonathan Roberts, and the writing team of Bob Tzudiker and Noni White. Based on the 1831 novel by Victor Hugo.
600 S 400 E, Orem, UT 84058
Mondays, Thursdays, Fridays & Saturdays @ 7:30pm, YOU MUST CHOOSE A SPECIFIC DATE
ASL Interpreted performance August 18, email info@scera.org with your party’s information.
Tickets: Adult $16, Child/Senior $12
Contact: 801-225-2787
SCERA Website
SCERA Facebook Page
Reviewer’s notes: I saw a few children there and it was clear that this show was over their heads. It is not at all scary, but parents may want to consider the intense themes in the show.
The SCERA employs helpful, fun, and experienced teens to work their snack counter and I love this. Also, their popcorn is delicious.
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