The News Herald (Willoughby, OH)
Fine Arts produces powerful ‘Hunchback’ of Notre Dame’
Familiar names in cast give the wonderful performances you’d expect
This isn’t Disney’s “The Hunchback of Notre Dame.” You’ve been warned. This, however, is easily the Fine Arts Association’s most impressive production of the season.
In this intense musical adaptation of the 1831 Victor Hugo novel “The Hunchback of Notre Dame,” the Willoughby organization does use Disney songs. Little else from the Disney’s 1996 animated take on Hugo’s enduring story has made it to the Corning Auditorium stage, though.
There’s no adorable goat best friend for the gypsy beauty queen Esmeralda, and there is more than a handful of groping going on (pun intended). Also, it’s a safe bet the Disney classic didn’t include the use of the word “whore” either.
With a bit of re-writing, this show could have been suitable for small children. On the other hand, even with the few sexual themes removed, it still could have been a bit traumatizing to see a deformed bell ringer with a heart of gold get physically and emotionally tormented by townspeople. (That goes for adults, as well as children.)
With that out of the way, let’s get into the blood, sweat, and tears the cast and crew clearly sacrificed to get this community-theater piece to mirror something you would pay big bucks to see downtown.
We’ll start with the head huncho (get it?). Quasimodo, the hunchback of 1400s Notre Dame, is played by Ryan Peterson. His interpretation of Quasi is so emotionally charged that you can be moved to tears if you watch him closely enough.
Because Quasi’s abusive master has kept him in a bell tower, that bell has chimed enough times to damage his hearing. Peterson does something special with this detail. He uses American Sign Language simultaneously while he delivers his vocal lines. It’s done so powerfully that even if you have never learned a sign in your life, you could pick up a few just by watching him. He signs slowly, but naturally. It adds dimension and heaps of emotion to his performance.
As if this isn’t impressive enough, Peterson recently played the dopey but loveable seagull Scuttle in the Geauga Lyric Theater Guild production of Disney’s “The Little Mermaid” at Geauga Theater in Chardon. It was a supporting role, but one in which he excelled. Rising quickly from a clueless bird to a tear-jerking lead is no small feat.
Quasi was raised by a sinister minister, to say the least. Dom Claude Frollo (David Malinowski), the minister of justice, agreed to raise the “monster” baby while looking on the bright side
“I will teach him to think like me,” he says.
Unfortunately, he teaches Quasi to belittle himself and forces him to live an isolated life locked in the bell tower.
Malinowski has a commanding presence, and it’s really no surprise. He’s the chair of performing arts at Fine Arts and runs other theatre programs around the area. He is a great actor, indeed; he makes it easy to loathe his corrupt character each time he enters the scene.
The strong female lead in this story is, of course, gypsy dancer Esmeralda (Haley Gagnon). Gagnon last played Ariel in Disney’s “The Little Mermaid” on the Fine Arts stage. She played a lovely Ariel, but she appears even better suited for Esmeralda’s bold, daring character.
Gagnon beautifully balances Esmeralda’s dancing skills along with scrappy fighting abilities as she battles male egos all day.
JJ Luster portrays Captain Phoebus de Martin, who, along with Quasi, is after Esmeralda’s heart. Luster is always the funny guy. He gets laughs easily, even with the smallest gesture. There’s obvious chemistry between Luster and Gagnon, making their musical numbers together all the more endearing.
Finally, Emily Stack, who has portrayed Ursula in Disney’s “The Little Mermaid,” plays a supporting, gypsy character. You can give Stack a small role, but she will steal the scene every time. Her voice rises above the rest of the choir, and her presence is beyond fierce. In fact, she appears to be the most present of many of her counterparts. She makes you look forward to the next time we will see her in a lead role.
The set is nothing short of stunning, thanks to scenic designer Greg Pribulsky. Its gothic, regal design even makes room for the colossal 30-member cast, 14 of whom are a part of the hooded and beautifully harmonious choir.
These the hooded robes worn by the monks are just one of the exceptional wardrobe designs. Costume designer Susan Pestello hits it out of the park with coordinating outfits for the enormous cast.
Esmeralda alone has three wardrobe changes, all gorgeous and well -suited for the dancing she does.
Some of this dancing, along with a few other key moments of the show, is captured with a fun slow-motion effect. This can be tricky to pull off, but the cast is in-sync enough to make it magical.
There’s no way around it: “Hunchback” is a tragic tale. However, the profound performances and gorgeous teamwork make this production absolutely spellbinding.