Ask not for whom the bells of Notre Dame toll…they toll for thee. That is, if you see The Hunchback of Notre Dame at Burlington County Footlighters from now until October 3rd!
by CJ Higgins
Younger audiences may be familiar with Disney’s 1996 film adaptation of the novel by Victor Hugo, but perhaps not with the extremely mixed reviews upon its initial release. The main issue was the tone; Hugo’s novel is large enough that it could have reasonably served as one of the bricks of the famous cathedral, each page darker in its subject matter than the last, but Disney films are primarily known for being cheerful family musicals that can keep kids seated and attentive for no longer than two hours. The film had many stand-out features such as its score and animation, but ultimately struggled to balance faithfulness to the original story with what is expected of The Disney Brand. The stage musical, which runs approximately two-and-a-half hours, takes advantage of the heightened flexibility of Disney’s theatrical ventures to present a more grounded, solemn, and mature version of the story while maintaining the music that has drawn audiences in since 1996. If you’re looking to bring the kids to Burlington County Footlighters, you wouldn’t be alone considering I was seated in front of at least one, just be aware you’re in for a different presentation than the cartoon.
Burlington County Footlighter’s current production first grabs my attention the second I walk into the space and see a cellist (the director’s husband, though a cast member takes up the mantle of providing music during intermission) surrounded by the gargoyle ensemble, providing the sense that one is entering hallowed grounds. Knowing that one of the main features of Hunchback is its grand choral music and set pieces, my first question is, to be frank, “how the heck are they going to fit this show in this space?”. I’m pleased to tell you the answer is: masterfully. The direction and choreography, by Heidi Kleber and Lizi Baldwin respectively, ensures that this 49-member ensemble of performers never crowd or collide with each other, instead weaving through each other like a tapestry to present a feast of characters. Jim Frazer’s set design is equally admirable and noteworthy in this accomplishment, raising the many choir members over the stage and illuminating them with candles to remind the characters below that the eyes of Notre Dame are always watching. Frazer and Kleber are also the co-lighting designers, directing our attention where it needs to go and beyond (keep an eye out for Quasimodo at the end of Act I for my favorite moment). The costumes by Brooke Christine provide many colorful stage pictures and opportunities for a good ol’ fashioned skirt twirl, the props by Nanci Cope fit seamlessly into 15th-century Paris, and Sean McGarry’s fight choreography depicts the peril of the scenes without peril to the actors performing them.
The driving question of Hunchback is “who is the monster and who is the man?”. Indeed, the entire ensemble portrays characters judged not just for their actions, but the way those actions - as well as who they are fundamentally - are viewed by their community. It can be all too simple in such a story to default to caricatures of good and evil, but fortunately the actors walk this line with wise precision, which adds dimension to their excellent vocals. Luke Perkins’s performance as Quasimodo is not only beautifully sung, he also maintains Quasimodo’s gentle nature and naivete throughout, allowing the latter a well-paced transformation as he gains more exposure to the world around him and the hidden cruelty of his caretaker, Dom Claude Frollo. Speaking of, Frollo is a character written to be despised given the extremity of his hatred and the resulting genocide he strikes against the Romani characters. Justin Kurbansade does not take this task lightly in his portrayal, even in the moments when Frollo is given a level of sympathy for the road that brought him to his bigotry. Alair DiRemigio, Sofia Leonen, and Seth Pollock's performances as the added characters in Frollo's backstory highlight his impulse to misdirect the blame for the tragedy he's experienced toward the oppression of others. Another exceptional performance is Desiree Bounds as Esmerelda, delivering a stunning rendition of “God Help the Outcasts” in addition to the kindness and fire that the role requires. She and Nick Olszewski (as the war-shattered playboy turned advocate Phoebus de Martin) show the devotion that Esmerelda and Phoebus build together throughout the piece, particularly in “Someday”.
Ultimately, the strength of this musical does not rest solely on the shoulders of the lead players, but of the entire ensemble, and this production allows many opportunities for everyone to shine. I was particularly delighted at the top of Act II, where we are treated to the choir standing front-and-center stage, joined and conducted by Music Director Tim Herman in a stunning choral piece to welcome us back to the world of the show (praise for Herman is also due for balancing the ensemble’s vocals, allowing the decadent harmonies to flourish in a space that could have easily confused them). Cat Baldwin, Andrea Drechsler, Jamie Lynne Hill, John-Paul Helk, and Tyrone Jackmon play the faithful and talented quintet of Quasi’s gargoyle companions with genuine heart. Members of the ensemble provide narration and significant supporting characters such as Maria Leonen-Whittle’s clever Clopin, Nick Williams's well-meaning guard Frederick Charlus, Rick Williams’s lighthearted King Louis XI, and Elizabeth Deal’s matter-of-fact Madame, and a surprising saintly cameo from Jason Petti (Saint Aphrodisius) to name just a few. For a cast as large as this, there truly are no small players. Ensemble: Liz Deal, Hope Fitzgerald, Chelsea Franchi, Danielle Houpt, Alex Keith, Gianna Leonen, Cassidy McQuoid, Rebecca Sisley, Bela Silva, Heather Stott, Rick Williams and Frank Zerns. Choir: Barrett Bramhall, Lydia Bramhall, Tim Catrino, Lauren Hargrove, James Hargrove-Milam, Jordan Konteh, Forrest Link, Matt Maerten, Colette Mahar, Nicole Manning, Alicia Menendez, Jason Petti, Mary Quinn, Mark Rebilas, Alexis Romeo, Peg Smith, Jacob Stiles, Stefanie Vajagney, Elyse Viana, Des Whitaker.
A community theatre such as BCF could easily just present the show as audiences remember to keep us comfortable, but the power of this production is when it acknowledges the gravity of its material. One stand-out example is “Hellfire”, where Kurbansade’s chilling vocals are paired with seductive dancing from Bounds and two ensemble members. Bounds’s Esmerelda performs much of Act I, including this number, with a red-and-white outfit, yet the two dancers accompanying her are dressed in costumes reminiscent of Disney’s 1996 depiction of Esmerelda. I can’t presume the intention of the director, choreographer, and costume designer in making that decision, I can only speak to how the decision resonates with me, which is a reminder of the way the character of Esmerelda has historically reflected society’s bigotries against Romani people, particularly the fetishization of Romani women. Whether in 15th-century Paris or here and now, Frollo, while an extreme example, is not the only person who views women of color as objects of desire rather than human beings with agency. Additionally, the many instances the script uses the word “gypsy”, now widely recognized as a slur against the Romani people, do not feel taken lightly; it is used by characters to highlight their prejudices or to reclaim their oppressed identities.
If you, like me, are a fan of the 1996 film and have been curious about the theatrical adaptation, this production brings it to the stage with gusto and sincerity. The director’s note speaks to her experience growing up feeling like an outcast, and this show can speak to the outcast in each of us, the times we’ve all felt out of place and without belonging, and to the hope for a future where we’ll all be kinder to each other.
Oh, and let’s not forget the star of the show: Cher Ami Fowler, Cat’s pigeon. You’ll have to see it to believe it. Hunchback plays now through October 3, you can purchase tickets here: https://tickets.bcfootlighters.com/
