The Hunchback of Notre Dame rings true | Arts Features

The opening moments of Muni’s The Hunchback of Notre Dame, impeccably directed by Kevin Kulavic, are as impressive as the two hours of captivating theater that follow. The bells ring out, an enormous and intricate stained-glass window (beautifully designed by Tracy Tester) is illuminated, and a fully robed choir solemnly appears into the eerily lit understage as their haunting harmonies guide the audience into the confined world of Quasimodo; a deformed, mostly deaf servant living in a church bell tower. He is imprisoned by his uncle, the corrupt Archdeacon Claude Frollo – a man consumed by a deep-seated prejudice against the Romani people and a belief that Quasimodo’s face is too ugly for the light of day. Going against Frollo’s wishes, Quasimodo ventures out for the town’s celebratory Feast of Fools, where he encounters the kind gypsy dancer Esmeralda and the dashing Captain Phoebus. This forbidden foray ignites an unfortunate chain of events that alters all of their destinies.

Based on Victor Hugo’s gothic novel of the same name, The Hunchback of Notre Dame was popularized by Disney in its 1996 animated film, but don’t expect any classic Disney comedic relief here. The stage musical more closely follows the plot and tone of the original novel – in a word, bleak. However, it does retain many of the score’s beloved songs, such as “Out There,” “God Help the Outcasts” and “Hellfire.”

Quasimodo’s story is narrated by a talented ensemble of congregants, the choir, gypsies and gargoyles. Far from the slapstick companions of the animated film, these gargoyles materialize as poignant hallucinations of his solitude. The entire ensemble (skillfully vocal-directed by Sara Goeckner) sound like lead performers in waiting, with goosebump-inducing vocal moments from Hannah Cobb, Justin Johnson, Livia Nieves and Blake Buckles. The company transitions seamlessly in and out of various roles with quick costume changes, creating the illusion of continuous movement on an otherwise static (but stunning) set. The set painting is another triumph by Tester, with artistic detail fit for a real-life cathedral. This was a mindful choice for Kulavic.

“Growing up within the Catholic Church, I first encountered the arts in sacred spaces,” Kulavic said. “This production is a tribute to that influence. It aims to create not just a stage, but a living cathedral of sound, movement and story.”

The main plot catalyst is when all three male leads – Quasimodo, Phoebus and Claude Frollo – fall in love with Esmeralda after watching her dance. This is unfortunately what happens when you’re the prettiest girl in your tiny, 15th century neighborhood. Liyah Orielle is mesmerizing as Esmeralda, with powerhouse vocals and the essence of a true Disney princess. Her performance is so authentic and other-worldly that one never doubts why the whole town is enchanted by her. Yet, as is the grim fate of so many women coveted by powerful men, to deny them their perceived due means somebody calls you a witch and tries to burn you at the stake – a tale as old as time.

That somebody is Frollo. He’s an easy-to-hate villain, but played so well by the talented DJ Shultz that his scenes and songs become crowd favorites. Shultz’s Frollo commands the stage with a presence pasted from the pulpit of a fire-and-brimstone sermon. His vocals reverberate across the Muni lawn – like if James Earl Jones could suddenly croon about lustful damnation. It’s a performance not to be forgotten.

Jordan DePatis as Phoebus and Jake Hankins as Clopin also shine. DePatis has a natural charm and swagger that makes his captain all the more believable, and Hankins is a clever character actor who gives off court-jester, clown energy. He never fails to delight.

Without a doubt, the show’s star is Jack McLaughlin, who masterfully plays Quasimodo with heart-wrenching precision. At 23 years old, his age matches the innocence of Quasimodo; however, the maturity of his performance and the energy and control of his vocals disguise his youth. McLaughlin’s commitment to the physicality of Quasimodo (hunched, exaggerated facial movement and a speech impediment) would be difficult to endure for the most experienced of actors, but he never falters. Though the audience watches him transform into this “monster,” McLaughlin disappears into the role, and what’s left is a sincere Quasimodo revealed with devastating beauty.

Muni’s production of The Hunchback of Notre Dame is truly evocative and brilliant. It is the essential theatrical experience of the summer and is not to be missed.

The Hunchback of Notre Dame continues its run at the Springfield Muni, June 25-28. Performances start at 8:30 p.m. and tickets are available at TheMuni.org or at The Muni box office beginning 90 minutes before each performance.