By Samuel Barber
Notre Dame’s bells are ringing again, this time from Lehi’s Skyridge High School. “Come one, come all” they cry, and take part in the adventure of music, color, and one or two of the seven deadly sins as the Lehi City Arts Council performs the stunning musical of The Hunchback of Notre Dame. This play, which originally premiered in Berlin, Germany in 1999, contains many of the famous songs from the Disney animation of the same name; however, this musical is not the Disney film. It is a closer adaption to the original book by Victor Hugo, and while it is fun adventure for everyone participating, it contains many deeper themes that younger audiences might not understand. The main question driving the story is “What makes a monster and what makes a man?” which is illustrated beautifully by a cast of characters who represent a strong spectrum of what many think would answer that question. But the answer to the question is left up to the audience to decide.
Keith Allen plays the dashing rogue Clopin Trouillefou, who, as the head of the gypsy troupe, acts as both our main narrator, and a moving element in the story. He leads his gypsies with a steady hand and a firm voice as they entertain the locals, and steal anything that isn’t tied down. Allen and his troupe of performers also double as the narrative chorus dressed like monks that keeps the audience informed of the unfolding events. They have many musical numbers that they participate in, but the introduction to the play was the best. It sets the stage perfectly, and I got goosebumps as they came out in their cloaks and began the story of Notre Dame and the monster that found sanctuary within.
Benjamin Oldroyd who plays Quasimodo was my favorite. Oldroyd creates a contrast with the character of the hunchback that is not seen in the Disney film. The hunchback, as the people of Paris see him, is an ugly, deaf monster who walks with a limp, speaks in broken phrases, and a raspy voice. However, when he sings, which he only does when he is alone with the statues or with Esmeralda, the ugly crust fades away and we glimpse the amazing spirit that is hidden beneath. His singing voice is beautiful, strong, and clear. I got chills as he sang “Out There” and continued to get chills every time we were able to get a glimpse of the man beneath the deformities. Oldroyd creates a very powerful performance.
The lovely Esmeralda is played by Kylee Robison. Her introduction into the play is the most stunning by far of all the leads. It is no wonder that she grabs Frollo’s and Phoebus’ attention instantly. The interactions that Robinson and Oldroyd have together are very tender and made one love the character of Esmeralda. Robinson does a marvelous job at being a strong, independent woman, while also showing the soft, loving side of women that is often skipped over in today’s media. “God Help the Outcasts” sung by Robinson and a few members of the cast, though a sad song, brings a peaceful presence to the theater. She has a marvelous voice.
Jonathon Fifield stars as Dom Claude Frollo, the archbishop of Notre Dame. He is cool, collected, and self-assured. Fifield is a great Frollo. You can feel his disgust for the gypsies and his disappointment of most everyone else as he tries to do what he believes is best for the souls of mankind. Despite the character of Frollo being aloof and cold, through Fifield’s performance you feel a connection to the old priest. A connection that gradually dies as the priest goes further and further down his path of lust and unrighteous justification. Fifield’s performance of “Hellfire” is beautiful and filled with indignant passion and pain. You could feel his inner turmoil turning to resigned conviction as he declared, “She will be mine or she will burn.” I loved his performance of Frollo.
Captain Phoebus, played by Eric Smith, is wonderful playing the soul weary, yet hopeful captain of the Notre Dame guard. He makes his first appearance during the Festival of Fools where he sings “Rest and Recreation.” A song about how he has spent the last four years in a horrible war zone, and how he is glad to be back in Paris. Smith pulls off the strong hero type with ease. His interactions with Robinson are playful, and funny, and very smooth as the two show their characters’ interest for each other developing.
The 12 Saints that inhabit the cathedral need to be mentioned as well. They do a marvelous job not only interacting with Quasimodo, but also holding completely still during the parts of the performance where they are supposed to be cold, stone statues. Their makeup and costumes are so good that I had hard time telling in the beginning if they were real statues or actors until they started to move. Along with the 12 saints there are two gargoyles that, while they don’t play a major part in the story, they hold still the entire time, crouching for over an hour and leering at the audience. They are fantastic.
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The creative team behind this production need a moment in the spotlight as well. Jean Hatch (Producer), Michael Carrasco and Colleen Carrasco (Directors), Katie Allen (Music Direction), Kurt Eliason (Technical Direction), and Mckenna Carrasco (Stage Manager), should be very proud of what they have accomplished. Especially since the whole crew has only had four days to practice in the theater itself. Before that they were practicing in a small room at another location and the parking lot.
The set of the stage (designed by Michael Carrasco and Jerry Hatch) stays pretty much the same throughout the performance, but is built in a way that it can be the cathedral, inside or out, the court of miracles, and any other part of Paris that need be. The costumes (designed by Katie Allen and Jean Hatch), are beautiful and very well made. Choreographer Chantelle Wells does a spectacular job helping the cast to make the most of the costumes, makeup and stage in every dance number. And thanks to Lighting Designer Elizabeth Griffith, both the audience and the cast can easily see what is going on and feel the mood that’s appropriate for each scene.
This play, as mentioned before, is not the G-rated Disney film. The story of the Hunchback of Notre Dame is an illustration on society and touches on many of the darker parts such as: Discrimination, lust, corruptive power, and more. I would personally give the musical a rating of PG-13, not because it has anything inexplicably horrible in it, but much like the 2004 film adaptation of the Phantom of the Opera, it contains deeper tones and it does have a few fairly intense scenes. The scene where Frollo finally confronts Esmeralda about how he feels could frighten younger children, for instance. (Which means it is awesome acting!)
Lehi Arts consistently brings great theater to Utah County, but I feel their production of Hunchback of Notre Dame has outdone their usual standard. It is not a feel good, happy all the time show and I wouldn’t recommend it for younger kids. But anyone who loves the spectacle of musicals, enjoys deep themes in a show, likes affordable entertainment, or loves the story of the Hunchback needs to see Lehi’s production before it’s too late.
Lehi City Arts Council presents The Hunchback of Notre Dame, Book by Peter Parnell, Music by Alan Menken, Lyrics by Stephen Schwartz.
Skyridge High School Auditorium, 3000 N Center St, Lehi, Utah 84043
July 23, 25-28 7:30 PM
Tickets: $10-$12.00
Lehi City Arts Council Facebook Page
The Hunchback of Notre Dame Facebook Event
They do ask that you leave the babies and toddlers in arms with a sitter for the night, so that you and everyone else can enjoy the performance without undue interruptions.
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