It’s not always
a successful mix, but Garden Theatre’s musical production of “The Hunchback of Notre Dame” doesn’t hide the flaws inherent in the show’s sometimes awkward structure, writes Matt Palm.
Quasimodo, we’re told at the start of “The Hunchback of Notre Dame,” means “half-formed.” As it happens, there’s something about the stage musical itself that feels not quite finished.
The show, which debuted in 2014, combines Victor Hugo’s 19th-century novel (taking liberties with the author’s plot) and music from Disney’s 1996 animated film. It’s not always a successful mix, and Garden Theatre’s production, directed by Rob Winn Anderson, doesn’t hide the flaws inherent in the show’s sometimes awkward structure.
The Garden’s production is handsome: Erin Miner’s lighting saturates the stage, Anthony Narciso’s sound design conjures various settings. Joe Klug’s scenic design marvelously evokes Notre Dame’s famed rose windows — and the whole theater helps set the mood. Stars sparkle in the ceiling, statues of saints gaze from the balcony and wall sconces flicker like firelight.
A.J. Garcia creates an array of attractive and creative costumes — though a few missteps stand out: Esmeralda’s dancing dress is unflatteringly flouncy, and one of Frollo’s vestments glitters with two distractingly placed jewels.
Esmeralda, you may recall from high-school English, is the Gypsy who befriends hunchback Quasimodo, and Frollo is the priest who lusts for her. Adia J. Seckel successfully marries Esmeralda’s compassion with her moxie, and sings an emotionally pure “God Help the Outcasts” and “Someday.” (Alan Menken wrote the music, with lyrics by Stephen Schwartz.)
E. Mani Cadet eschews Frollo’s usual stonelike severity in favor of an oily manner that fails on two key counts: It doesn’t effectively contrast with Quasimodo’s childlike innocence or sharply convey the priest’s inner turmoil as he fights his earthly desires. Benjamin Ludwig, as Esmeralda’s love interest, has a delightfully booming voice but occasionally forgets musicaltheater diction.
As Quasimodo, Matt Rothenberg has the charm, loping gait and voice to do justice to big songs “Out There” and “Heaven’s Light.” Pity his dramatic cry of “Sanctuary!” is hidden at the rear of the stage.
The Garden forgoes the original production’s conceit of showing the actor playing Quasimodo applying his makeup and costume onstage. Instead, the audience is reminded it’s watching a story through clever use of the theatrical playbook — from striking projections of the show’s opening lines, to chilling masks during the “Hellfire” number, to gargoyle puppets that effectively lighten the story’s dark tone.
Space constraints at the Garden mean the backing choir and orchestra are recorded, which occasionally mars a quiet moment. The show, in fact, could take a collective breath at several key points, to let its lofty ideals of compassion, inner strength, faith and hope resonate with the audience. Even in an imperfect musical, those qualities are always worth contemplating.