While The Hunchback of Notre Dame is far from the first musical adapted from Disney, it might be one of its more innovative. Those familiar with the film will likely have plenty to enjoy in the songs chosen. However, this is far from a verbatim rendition of the 1996 story many grew up with. Even with “God Help the Outcasts” and “Hellfire,” the narrative has been changed just slightly. If the dialogue sounds familiar, it’s because it’s lifted directly from the Victor Hugo original, creating an interesting blend of interpretations that says something new. They may seem like an odd fit, but the cast at Stage Door Repertory Theater does a great job of making it all into an exciting night of theater, turning minimalist stage design and costuming into something vivid and alive.
Even before the show started, Stage Door has created something integral to the theater experience. With audiences sitting at tables, employees went around offering homemade brownies and various refreshments. The environment is cozy, allowing for intimacy to form when the show finally started in the small venue. An introduction from staff suggests that their run of Hunchback has been very successful, having sold out every night. It’s easy to see why once things get going, especially as the show adds small clever touches such as a deaf actor (T.J. Punchard) as Quasimodo who occasionally speaks through American Sign Language.
The rest of the show is an impressive contraption, managing to incorporate a multi-tiered stage where a haunting choir dressed in robes sing from above while other actors wander the stage, popping up sometimes from underneath trap doors and making the limited space feel so much bigger. At times it is a Court of Miracles where everyone dances with merriment. Other times it feels like the bell tower where Quasimodo rings bells. The clever staging allows for these transitions to feel natural, even building to an Act I finale that’s full of vivid lighting that suggests fire and madness as scenes quickly transition to keep up with the pace.
The most interesting component of the performance is Quasimodo, who exists between the worlds of reality and fantasy. In the latter, he is seen talking to a series of gargoyles who serve as his moral compass, allowing for a greater understanding of his longing to be more than this ugly outsider. It adds this heartbreaking agency that gives depth to a character who only wants to go “Out There.” Adapted from Hugo, his story plays out a little differently, including other tragedies involving his family. Even the character of Esmerelda (Layla Baki Elefante) changes into something more perverse based on her relationship with Dom Frollo (Eric J. Hindley). It all helps to make the third act more haunting while also allowing the integral themes of repression and judgment to be more prominent.
As a whole, the cast at Stage Door does an excellent job of balancing the differing tones while highlighting their similar framework. While certain songs don’t fully blend with Hugo’s more mature subject matter, there’s still something admirable about this exercise. It allows the human emotion to shine a lot brighter, finding Quasimodo charismatically jumping between internal pain to small comedic moments. Don Frollo is convincingly tortured throughout the story, balancing between a sense of power and hopelessness. It’s a dynamic that forces the audience to see the weight of humanity underneath, creating something that may be a bit odd at times, but is ultimately satisfying.
For the most part, The Hunchback of Notre Dame is a show that will appeal to fans of the Disney film and also can draw in fans of other interpretations. It doesn’t rely on the familiar zippy carefree nature of other Disney adaptations, instead allowing for a commentary on how a text can connect to different audiences in different mediums. Stage Door has done a great job of making more with less and helping to make the story come to life with an urgency and purpose that is admirable. It may not always be the most accessible show because of its darker focus, but when it works it’s a great night of theater. Luckily that happens more often than not.
Comments
Post a Comment