God Bless the Outcasts

The Hunchback of Notre Dame – Music Theater Works

Victor Hugo’s sweeping early 19th century novel was written, much like his Les Miserables, as a social commentary, as much as an entertaining Gothic romance. It’s a timeless reminder about the importance of looking beyond the physical to find an individual’s inner beauty. It’s also a tragic love story, telling about how a beautiful young Gypsy woman named Esmeralda bewitches three men from very different walks of life: the Archdeacon of Notre Dame, the Captain of the Cathedral Guard and the Cathedral’s hunchbacked bellringer. Set in 1482, everything takes place in and around Paris’ massive stone structure that is the world-famous Cathedral of Notre Dame. 

Quasimodo is a gentle, kind, but physically deformed young man, who’s been kept hidden away within the sanctuary of the famous cathedral by the bitter Dom Claude Frollo. Claude has served as the austere Archdeacon of Paris most of his life after, as we learn in a lengthy prologue, he and Jehan, his wildly reckless younger brother, grew up there themselves. Jehan flees his older brother’s strict supervision and runs off with Florika, a passionate young Gypsy woman. When the couple both contract the pox, Jehan implores Claude on his deathbed to adopt his baby son and care for him. Frollo reluctantly takes in the baby, convinced that the child’s ugly face and hunched back is God’s punishment for his brother’s moral depravity. He cruelly names the boy Quasimodo, which in Latin means “half-formed,” and trains him to be the bellringer for Notre Dame.

This isn’t a lighthearted musical romp, as might possibly be expected from a theatrical version of a family-oriented cartoon movie. It’s a very dark, almost operatic treatment of Hugo’s dramatic saga, originally adapted for the German stage by James Lapine, and later, for American audiences, by Peter Parnell. The show uses songs from the 1996 animated Walt Disney movie, by Alan Menken and Stephen Schwartz, with additional music written expressly for the stage version. The libretto borrows equally from both the Disney animated film and the original Gothic novel. 
Following a lengthy prologue, the plot takes flight when Quasimodo sneaks outside the safety of the Cathedral to join in the city’s revelry at the Feast of Fools. There, due to his grotesque appearance, he’s crowned King of the Fools. He’s then strapped to a revolving platform to be whipped and ridiculed by the townsfolk. Although Frollo, his adopted father, secretly observes all of this inhumane torment, only Esmeralda, a beautiful, young Gypsy woman, offers the young man any compassion or empathy. She gives Quasimodo water and cuts the ropes that bind him. Frollo then orders Phoebus, his Cathedral Guard, to arrest Esmeralda, but the two manage to escape back to the safety of the Hunchback’s bell tower. There the Gypsy girl is treated by Quasimodo to the magnificent view of Paris from the “Top of the World.”

The plot thickens as Quasimodo, understandably, develops a deep fondness for Esmeralda, but he’s not the only one interested in her. Frollo, despite his professed purity and piety, is also captivated by her beauty and intelligence and lusts for her. In addition, through a series of flirtations, Captain Phoebus also  finds himself enchanted by the seductive Gypsy dancer. Thus begins the sexual tension between the four main characters that will drive Victor Hugo’s story to its tragic conclusion.

Gorgeously directed by Rudy Hogenmiller, with choreography by Clayton Cross, the cast features one of Chicago’s finest musical theatre actors in the titular role of Quasimodo. Billy Dawson, who’s appeared in seven productions with Music Theater Works, has also entertained audiences at BoHo Theatre and the Lyric Opera. He brings his gorgeous, well-trained voice, smoky good looks and searing eyes to this role, captivating the opening night audience with his honesty and humanity. Mr. Dawson’s soaring, heartfelt ballad, “Out There,” sets the tone for Quasimodo’s poignant story, drawing theatergoers into the heart and soul of this sweet, innocent character. Mr. Dawson has truly left his mark on the musical stage with this role and will, without doubt, soon become Chicago’s newest leading man.

He’s rivaled only by Erik Dohner, in the role of Phoebus. Blessed with the voice of a god, and the handsome countenance of a Greek statue, Mr. Dohner has also been featured in many of  Music Theater Works’ classic productions, from “Candide” to “Into the Woods,” from “My Fair Lady” to “Die Fledermaus.” This musical master also starred in Kokandy’s recent production of “Grand Hotel,” as well as “The Most Happy Fella” at Theo Ubique and “Evita” out at Timberlake Playhouse. As the Captain of the Guard, Erik begins the play as a cocky, somewhat conceited lady’s man who thinks he rules Paris. However, under Esmeralda’s enchantment, Phoebus softens and becomes a kinder, far more sympathetic character. Dohner’s duet with Esmeralda, the lovely “Somewhere,” clinches the fact that this actor has one of the finest voices in Chicago.

As Esmeralda, Anna Marie Abbate dazzles as another Music Theater Works veteran. She appeared as Tiger Lily in their production of “Peter Pan,” as well as an ensemble member and dance captain for “Anything Goes” and the recent “How to Succeed in Business Without Really Trying.” When not seducing the ensemble and the audience with her sexy production number, “The Rhythm of the Tambourine,” she brings an earthy, soulful quality to the friendship she offers Quasimodo, particularly in the lovely “God Help the Outcasts.”

Enjoyed in powerful character roles he’s portrayed all over Chicagoland, Kent Joseph returns to Music Theater Works as the villainous Archdeacon of Notre Dame. Joseph, with his towering physical stature and rich, powerful vocals brings an especial darkness to this role. His voice lends gravity to so many songs, such as “The Bells of Notre Dame,” “Sanctuary,” and his tour de force number, “Hellfire.” Mr. Joseph’s character is particularly  reminiscent of Judge Turpin, in Sondheim’s “Sweeney Todd; but he’s also closely related to Jarvert, in Victor Hugo’s “Les Miserables,” and his philosphy and behavior also suggests a certain United States President, who also thinks he’s above the law.

 In addition to the four leading characters, Rudy Hogenmiller’s 40-member cast includes a hugely talented ensemble, who effortlessly transform from Quasimodo’s statuary companions into various Gypsies, soldiers, monks and other Parisians. Among them is Benjamin Sprunger, who boldly plays Clopin, the Gypsy King; Alex Christ who’s terrific as suave, young Frederic, the Lieutenant of the Cathedral Guard; Jennifer Ledesma, who makes a sassy, brassy Brothel Madame; and Nicholas Roman and Taylor DiTola are standouts as Jehan and Florika. In addition, hidden within the basilica walls and underground catacombs of Notre Dame, we see the spectors and hear the grand, ghostly voices of a choir, featuring two dozen gifted singers, who create a glorious wall of sound. The cast is skillfully musically directed by Roger Bingaman, and magnificently accompanied by his incomparable 14-member pit orchestra.

The production is staged upon a massive, multilevel scenic design, complete with a beam of gigantic bells that descend from above. The set is provided by Front Row Theatrical Rental. kClare McKellaston has costumed this production with period perfection, with Billy Dawson turning into Quasimodo in full view of the audience. Hair and makeup designs are the creations of Alice Salazar and Rachel Stiles; and Andrew H. Meyers’ exquisite lighting design couldn’t be more beautiful and atmospheric.
This is certainly one of Music Theater Works’ most inspiring, most beautifully jaw-dropping productions in recent memory. It’s less Disney and far more Victor Hugo, which isn’t all bad. The musical itself, however, isn’t perfect. It could use some cutting. There’s a strange second act number, “Flight into Egypt,” that’s performed by a decapitated St. Aphrodisius and the ensemble. It only serves to bring the momentum of the story to a screeching halt. In Act I, probably to offer some levity to an otherwise dark, depressing tale, the proceedings stop for the bawdy “Tavern Song,” which also adds very little to the play. But other splendid numbers, like Quasimodo’s “Heaven’s Light” and “Made of Stone,” and the ringing of the the colossal chorus of Cathedral bells, bring the audience back to the reason for this story. We are reminded that, despite living in a world where the physical seems valued above all else, beauty goes far deeper than a person’s skin.

Highly Recommended

Reviewed by Colin Douglas

Presented August 17-25 by Music Theater Works at Cahn Auditorium, 600 Emerson St., Evanston, IL.

Tickets are available in person at the box office, by calling 847-920-5360 or by going to www.MusicTheaterWorks.com.

Additional information about this and other area productions can be found by visiting www.theaterinchicago.com.