BWW Reviews: HUNCHBACK Comes to Life at La Jolla Playhouse

As an unabashed Disney kid (who am I kidding, and still am as an adult) I have seen as many Disney animated movies as possible. I remember going to see the "Hunchback of Notre Dame" with my friends and wondering how in the world this story would become an animated movie. Years later I found myself considering a similar position as I contemplated how the La Jolla Playhouse and Disney Theatricals were going to turn that movie into a stage production. Paying through December 14th at the La Jolla Playhouse, you can see just how they brought it to life!

Based on the movie, which is based on the novel of the same name by Victor Hugo, this show is in a unique position: how to take this dark and medieval set story, take out the animated gargoyles, and add some Broadway spectacle with it all coming together in the end? For the most part, it succeeds.

The music in this show, with music by Alan Menken and lyrics by Stephen Schwartz is spectacular. It opens with the stunning choir that backs the ensemble singing "The Bells of Notre Dame", and it sets the tone for the entire show. The plot is laid out for the audience even as the choir intones "Kyrie Eleison" behind them. The sound and tone of the song is so full, and layered, and lush I wondered why we don't include choirs on stage more often. Or for that matter, why not have more entr'acte's sung in Latin?

The story follows the Archdeacon Frollo (Patrick Page), who has set himself as the person who must cleanse Paris of any sin, and he is not above turning in his own brother to do just that. His brother leaves behind a small infant, whose appearance is so bad Frollo assumes its as his own personal penance and atonement to raise him to be a better man. But he is less than successful as he names him Quasimodo (meaning half formed) and locks him in a bell tower - which is not a great start.

Quasimodo (Michael Arden) is a gentle soul, who just wants friends and to be like everyone else, even if it is only for one day. So he sneaks out to see the Gypsy's at the Feast of Fools where he promptly is crowned King Fool and heckled and scorned. The feast is where Frollo and Quasi meet Esmeralda (Ciara Renee) and the real fun begins. Esmeralda wants to befriend Quasi, Frollo wants to save her, and the captain of the church guard Phoebus (Andrew Samonsky) wants her just as she seems to be. But as the very personification of evil and temptation to Frollo, she of course must be hunted down at all costs.

What worked:
- Patrick Page is fantastic, and as Frollo he is tasked with a difficult challenge. He has to make sure his character is getting more and more detestable while also not turning him into a cartoon. He walks the delicate balance of showing a man so scared of losing control and losing others to vice that he becomes more monster than man, without losing all trace of audience empathy. Page is a wonder in the role, and his number "Hellfire" is a showstopper. His voice and his performance is so suited to this that I have a hard time imagining anyone else doing it. Or maybe I just like villains?

-Michael Arden brings Quasimodo the humanity and sensitivity of someone who longs for a connection and tries to see the good in all things and people. As his Quasi sees more of the world, he makes his own choices, even though they may come at quite a cost. As a character that could easily be played as a victim of circumstances, it is nice to see this character grow in his emotional range. The physicality of the part must be demanding as he hunches over and moves in an awkward lope. His singing is beautiful, and and is a good, clear, and warm foil to Page's fire and brimstone.

-Renee's Esmeralda is fiery, beautiful, and kind. Which is a variety that you are looking for in a role that has to tempt three different types of men. Her rendition of "God Help the Outcasts" is touching and is suited to her voice.

-Set within and around Notre Dame the set itself is a giant façade of the church, (including marble saints) and it is bathed in beautiful lighting. From the soft glow of the church candles, to the light streaming through the churches signature window, just that alone is enough to set the mood. But since not all of it is set in the church, this stage moves seamlessly from inner sanctuary of the church, to the town square, to the underground Gypsy Court of Fools without a hiccup.

What needs work:
- While Phoebus is needed in the story, his character feels the least developed. He brings necessary lightheartedness and comic relief, but his actions could use a bit more fleshing out to make us care if he gets the girl.

- The show felt a bit uneven in character development. The first half belongs to Frollo, although Quasi does get one (beautiful) first act song in "Out There". Then come Esmeralda and Phoebus who take over the second act, so when you get to Quasimodo again, it feels a bit disjointed and there is less of a connection to him as one would want from the title character.

- The song "Flight Into Egypt", is supposed to be a comedic respite from the medieval melodrama, but it feels very out of place. Something else could happen here instead of a beheaded saint singing and dancing.

- The ensemble: at times their direct address to the audience and their habit of switching in and out of characters on stage really work. Sometimes they come out fully changed with traditional doubling. It's a bit hard to tell if they were going for a roving band of players telling you the story or if they are performing the story and they occasionally become roving players.

Overall, this is a lovely and moving adpation of this story. This show made a lovely transition from an animated film to fully-fleshed out on stage. With it's beautiful music, and fantastic performances, don't miss this show!

Check out "Hunchback of Notre Dame" at La Jolla Playhouse through December 14th. For show and ticketing information go to www.LaJollaplayhouse.org

Photo Credit: Kevin BerneMichael Arden (center) and the cast of La Jolla Playhouse's U.S. premiere production of THE HUNCHBACK OF NOTRE DAME, book by Peter Parnell, music by Alan Menken, lyrics by Stephen SchwaMichael Arden (center) and the cast of La Jolla Playhouse's U.S. premiere production of THE HUNCHBACK OF NOTRE DAME, book by Peter Parnell, music by Alan Menken, lyrics by Stephen Schwartz, directed by Scott Schwartz, running Oct 26 - Dec 14 in the Mandell Weiss Theatre; photo by Kevin Bernertz, directed by Scott Schwartz, running Oct 26 - Dec 14 in the Mandell Weiss Theatre; photo by Kevin Berne Michael Arden (center) and the cast of La Jolla Playhouse's U.S. premiere production of THE HUNCHBACK OF NOTRE DAME, book by Peter Parnell, music by Alan Menken, lyrics by Stephen Schwartz, directed by Scott Schwartz, running Oct 26 - Dec 14 in the Mandell Weiss Theatre; photo by Kevin Berne

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