Review: THE HUNCHBACK OF NOTRE DAME at Houston Broadway Theatre

Based on Victor Hugo's sweeping novel, THE HUNCHBACK OF NOTRE DAME features reworked songs from the Disney score along with new arrangements by the original composers to better match the darker tone of the source material. The result is a breathtaking and heartbreaking tale of love, redemption, acceptance, and hope even in the darkest of times. Houston Broadway Theatre storms the stage with a cast of brilliant performers, a 21-piece onstage orchestra and a 30-member chorus that elevates this ambitious production into something truly special.

For those unfamiliar with the story, it goes something like this: In fifteenth-century Paris, Quasimodo, the malformed bell-ringer of Notre Dame, has spent his entire life hidden away in the cathedral's towers. Held captive by his cruel guardian, the archdeacon Dom Claude Frollo, Quasimodo dreams of life among the people in the streets below. When he finally escapes to join the Feast of Fools, he's shown kindness by only one person: Esmeralda, a beautiful, free-spirited Romani woman. But Quasimodo isn't the only one captivated by her. The dashing Captain Phoebus and the sinister Frollo are equally enthralled. As all three vie for her affection, Frollo launches a deadly campaign against the Romani people, and it's up to Quasimodo to find the courage to save them all.

The cast is uniformly excellent. There is not a weak voice among them, and several performers sound as though they stepped directly out of a Disney animated feature. Tyce Green gives a strong and physically demanding performance as Quasimodo. His portrayal of the character's disability feels thoughtful and deliberate, and he remains fully committed throughout the production. Maintaining that hunched physicality while delivering powerful vocals is no small feat, yet Green handles both with ease. His voice carries beautifully throughout the theater and anchors the emotional heart of the show.

Veronica Otim's Esmeralda doesn't arrive until nearly halfway through the first act, but once she steps onstage she commands attention. Possessing both a beautiful voice and undeniable Stage Presence, the gorgeous Otim makes it easy to understand why every major character becomes captivated by her.

Alec Nevin brings charm and earnestness to Captain Phoebus de Martin. Blessed with a bright, clear voice and leading-man good looks, he creates a likable hero whose internal conflict feels genuine. While the script doesn't always provide ample opportunity to develop Phoebus' relationships with either Esmeralda or Quasimodo (in my opinion), Nevin effectively conveys the struggle between his duty as captain of the guard and his own conscience.

As Clopin Trouillefou, Diego Guevara proves himself a true triple threat. Whether singing, dancing, or guiding the audience through the story, he does so with charisma and confidence. His energy is infectious, and he consistently hits every mark.

As Dom Claude Frollo, Alvin Crawford's rich, resonant baritone fills the theater and provides a commanding presence whenever he sings, proving every bit the villain.

The remaining twelve ensemble members are equally impressive. Their harmonies are rich, their vocals powerful, and their contributions help create some of the production's most memorable moments. As Quasimodo's companions, they help reveal his vulnerability and humanity to the audience. My only minor reservation involved the visual distinction between them as statues, birds, and gargoyles. At times the costume styling and staging made it difficult to differentiate between them. The script allows for this distinction and I think having it would have made their scenes stronger. Even so, every performer delivered strong work both vocally and dramatically.

Visually, the production is stunning. The stripped-down set (by Tim Mackabee), built around rolling scaffolding units, provides remarkable flexibility while never overwhelming the storytelling. The orchestra remains visible throughout the show and feels fully integrated into the overall design rather than tucked away as an afterthought.

The projections (a combined effort by lighting designer Tyler Micoleau, video designer Greg Emetaz and sound designer Andrew Harper) deserve special recognition. Whether static or animated, they consistently enhance the storytelling and dramatically expand the visual scope of the production. Combined with the lighting design, they transform simple scenic elements into striking stage pictures. Particularly impressive are the moments when performers positioned on the scaffolding appear transformed into towering gargoyles through the use of light and shadow. The effect is both clever and memorable.

The orchestra itself is another highlight. The expanded orchestration beautifully supports Alan Menken and Stephen Schwartz's score, giving it the symphonic quality it deserves. As with many great musicals, recurring musical themes help guide the audience through the story. Nowhere is that more evident than with "The Bells of Notre Dame," which serves as both a memorable melody and an effective storytelling device throughout the show. Equally impressive is the opening of Act II, when a 30-member choir silently files onto the stage before delivering a stirring chorale that immediately commands attention.

Not every design choice worked equally well for me. The costumes (by Johanna Pan) occasionally felt inconsistent, blending modern streetwear with period-inspired pieces in a way that sometimes distracted from the world of the story. While some contemporary touches are understandable for this production, the mix of peasant attire and modern elements occasionally felt less cohesive than the rest of the production's visual design.

This may be an unpopular observation, but the tattoos also proved somewhat distracting at times. Under the stage lighting they often appeared unusually shiny, drawing focus away from the performances. On some actors this was barely noticeable, while on others it became more prominent. Likewise, while Tyce Green's physical commitment to Quasimodo was admirable throughout, the choice to give the character a large rose window tattoo across his back didn't entirely work for me. It felt more like a contemporary design choice than something that served the character or story.

Houston Broadway Theatre has crafted a visually stunning and emotionally resonant production of THE HUNCHBACK OF NOTRE DAME. Since 1996 this piece has seen numerous interpretations and revisions across different companies, each attempting to leave its own mark on the material. HBT’s staging feels both confident and thoughtfully realized; smartly produced in a way that satisfies seasoned theatre fans while honoring the darker, more complex tone of the source. The cast delivers powerhouse vocals worthy of any Disney adaptation, while the orchestra, projections, and inventive staging combine to create a rich theatrical experience. Director Joe Calarco, Choreographer/Asst. Director Hope Easterbrook, and Musical Director Andrew Orbison clearly understand both the scale of the material and its emotional core, guiding the many moving pieces into a cohesive and compelling whole. The music itself feels lush and well-balanced, moving comfortably between classical grandeur and contemporary musical theatre sensibilities. Visually, the production is consistently striking, reinforcing HBT’s distinct take on the material. Though a few design choices occasionally distracted and portions of the second act lost momentum, these are minor concerns in an otherwise impressive production.

What remains most memorable is the show’s heart. Beneath the spectacle is a story about acceptance, compassion, and finding hope in difficult times. HBT’s darker interpretation honors those themes beautifully, resulting in a production that is both entertaining and moving. It is a welcome summer treat and a strong, assured interpretation of a work that has long invited reinvention. For theater fans looking for a strong summer musical, this HUNCHBACK is well worth the trip to the Wortham.