Review: THE HUNCHBACK OF NOTRE DAME at Carlisle Theatre Players On High

Based on the classic novel by Victor Hugo, The Hunchback of Notre Dame takes place in Paris in 1482, but it could just as easily be set in a city today. The musical, by Alan Menken, Stephen Schwartz, and Peter Parnell takes themes from the book and from the Disney movie and heightens them for the stage. It is a story that highlights elements of life, society, and human nature, making it impossible to ignore not only the good things like compassion and love but also the bad things like prejudice, hypocrisy, and hatred. The Hunchback of Notre Dame is filled with stirring music, complex characters, and a story that resonates throughout the ages. Carlisle Theatre’s Players on High presents The Hunchback of Notre Dame under the direction of Jess Teter with music director Seth Martin, stage manager Abby Moore, and assistant stage managers Anna Forrester and Penny Shaw.

The staging, dance choreography (by Lauren Gopi), and fight choreography (by Emma Krebs) are well-designed, using the whole stage and the various levels of the set to create interesting and exciting movement on the stage. Set design (by Jess Teter), lighting design (by Nick Alleman), and costume design (by Elizabeth Drinks) create a visually stunning piece of theatre. The pit features Galen Work, Susan Travis, Marcella Diehl, Tina Stevers, Jacob Manning, Shannon Edwards, Elizabeth Anderson, Brandon Houtz, Bob Yinger, Jeff Schwartz, Andrea Verna, Brooke Johnson, Elyse Rinehart, Justin Miller, and Hope Bowling. These musicians bring the stirring score to life. This reviewer is looking forward to seeing future musicals in this space as they work to perfect the sound balance with updates to the equipment and the space itself.

The large cast features a choir (Adeline Colton, Valerie Domenici, Zoe Domenici, Aaron Gibelius, Kevin Johnson, Gabriel Lufburrow, and Haley Lufburrow). This reviewer has yet to see a production of this show where the choir has been well-balanced and strong enough on harmonies to handle the difficult music, however, they do add dimension to the group numbers and heighten the solemnity of the scenes with Latin chants.

Many of the actors take on various roles. Brian Silva is a sympathetic Jehan Frollo—the audience cannot help but feel sorry for him with the death of his love and his own impending death. Aiden Storm adds a bit of levity to the scene King Louis XI who, like many of our politicians today, would prefer not to get involved with the “regular” people. Dom Domenici is wonderful as Aphrodisius, a role which highlights his lovely voice. Mary Adams plays Madame with excellent strength and wit. The soldiers/congregants include Scott Liddick, Wesley Owens, Brian Silva, and Aiden Storm. These actors approach their roles with a sense of gravitas, maintaining stolid expressions and strong postures and movements. The Romani/congregants feature Cami Bready, Larissa Curcio, Surag Gopi, and Dave Lang. In contrast to the soldiers, these actors express more joy and freedom in their movements. Melissa Perrelli and Russ Moore join the congregants while also taking on the roles of Florika and Father Dupin, respectively.

Audience members who love the gargoyles in the movie will adore the gargoyles in this version as well. Kevin Hand, Travis Houtz, Aaron Moore, Anna Palese, Giulia Pontillo, and Alyssa Wenger take the stage as the gargoyles. They work well together, creating a rhythm with their lines. Their ability to move from animated to still as stone is delightful to watch, and their interactions with Smith’s Quasimodo are entertaining and inspiring.

Michael Griesemer takes on the role of Phoebus de Martin, the captain of the guard who falls in love with Esmerelda. Griesemer’s swagger and cocky attitude work well in the role, though this reviewer would have liked to see that tempered with more sincerity in his interactions with Carrine Lawson’s Esmerelda. Hayden Johnston is delightful in his role as Clopin Trouillefou, the leader of the Romani. His energy and passion shine through in this role, and his smooth vocals are wonderful in “Topsy Turvy”. He is definitely an audience favorite. Carrine Lawson’s rendition of God Help the Outcasts is soulful and stirring. Her Esmerelda is lively, outspoken, and strong. Her movements, fluid and graceful in her dancing and filled with tension in her interactions with Bernie Labuskes’s Dom Claude Frollo, are beautifully crafted to highlight her character’s emotions in each scene.

Bernie Labuskes and Ozzy Smith are dynamic as Dom Claude Frollo and Quasimodo, respectively. Labuskes’s voice is smooth like silk and wonderfully resonant. His performance really highlights the human weakness with which his character struggles. His facial expressions and the expression in his voice and movements are enthralling. Smith’s performance as Quasimodo is fully deserving of the standing ovation he received. The way he alters his posture and gait to embody Quasi is unbelievably realistic, and his facial expressions illustrated Quasi’s every emotion from fear to longing to anger to love and more. His clear, gorgeous vocals soar through the auditorium. His performance brought this reviewer to tears multiple times throughout the show. Labuskes and Smith alone are worth the time to come see this production.

The Hunchback of Notre Dame is sadly as relevant today as it was when Victor Hugo first penned the story. The stage adaptation is thought-provoking and emotional. Visit carlisletheatre.org to get your tickets for this stirring production.