Review: DISNEY'S THE HUNCHBACK OF NOTRE DAME at Gaslight Baker Theatre

Victor Hugo's The Hunchback of Notre Dame has inspired generations of readers, filmmakers, and theatre artists. The stage musical, featuring music by Alan Menken, lyrics by Stephen Schwartz, and a book by Peter Parnell, blends the darker themes of Hugo's 1831 novel with the memorable music and characters introduced in Disney's 1996 animated film. The result is a sweeping musical that explores prejudice, compassion, faith, and the search for acceptance through a score that is as demanding as it is beautiful.

For a volunteer community theatre, it is an extraordinarily bold undertaking.

Under the direction of Doug DeGirolamo, Gaslight-Baker Theatre in Lockhart embraces that challenge with confidence. Not every artistic choice lands perfectly, and the musical's formidable score occasionally reveals the sheer scale of the task. Even so, those moments are outweighed by the company's dedication, thoughtful artistic vision, and unmistakable enthusiasm for bringing this beloved work to life. Rather than playing it safe, Gaslight-Baker has chosen one of contemporary musical theatre's most demanding titles, and that willingness to reach beyond expectations deserves recognition.

Set in fifteenth-century Paris, the story follows Quasimodo, the isolated bell-ringer of Notre Dame Cathedral, who has spent his life hidden away by Dom Claude Frollo, the cathedral's Archdeacon. When Quasimodo ventures outside during the Feast of Fools, he encounters the compassionate Esmeralda and the charismatic Clopin, leader of the Romani people. Their lives become intertwined as Frollo's obsession with Esmeralda drives the narrative toward its tragic conclusion.

Menken's score remains the evening's greatest asset, and the 16-piece orchestra, conducted by Ben Cook, deserves much of the credit for bringing it vividly to life. Rich, expressive, and full-bodied, the musicians provide much of the production's emotional weight, reminding audiences why this remains one of Menken's finest compositions. Dressed entirely in black and topped with classic French berets, the orchestra also became part of the production's visual world. It was a simple but charming touch that quietly whispered, "Oh là là, Paris!" before a single note was played.

Like many stagings of The Hunchback of Notre Dame, the score asks a tremendous amount of its performers. Its soaring melodies, layered harmonies, and near-continuous singing would test any company. While the cast approaches the material with admirable commitment, not every vocal performance consistently meets the score's considerable demands, particularly in some of the more intricate harmonies. Even so, the performers' belief in the material never wavers, and their dedication to telling the story remains evident throughout.

Nik Farrell fully commits to Quasimodo's demanding physicality throughout. Kaley Bared brings warmth, dignity, and compassion to Esmeralda. Justin Whitley embraces Clopin's theatrical flair with infectious energy, occasionally pushing the character towards caricature but remaining an entertaining presence throughout. David Kelly delivers a confident and engaging Captain Phoebus, making the most of his stage time with quiet charisma and conviction.

Visually, the design team makes thoughtful use of the theatre's resources. The two-story set, created by Jess Decell and Doug DeGirolamo, effectively evokes Notre Dame's imposing bell towers while making smart use of the intimate performance space. The multiple playing levels reinforce Quasimodo's isolation, and the creative staging of the gargoyles and statues produces some of the production's most memorable theatrical images.

Sarah Mills' choreography deserves recognition. Esmeralda's dances are energetic and visually engaging, though they lean into familiar theatrical interpretations of the character through movements reminiscent of Middle Eastern belly dance. While these choices reflect long-standing Broadway and Hollywood traditions more than an authentic representation of Romani culture, they are confidently executed and contribute to the production's distinctive visual language.

This was my first time seeing The Hunchback of Notre Dame live, and despite some uneven performances and musical imperfections, I came away genuinely impressed. Gaslight-Baker Theatre selected a musical that many volunteer companies would hesitate to programme, resulting in an evening fuelled by a superb live orchestra, heartfelt performances, and a clear affection for the material. Its success lies not in perfection, but in the courage to tackle such an expansive work with conviction.

More than anything, Gaslight-Baker Theatre reminds us why local theatre matters. It allows artists to stretch their abilities while offering audiences meaningful shared experiences. Productions like this enrich their communities through creativity, collaboration, and a genuine love of live performance. If this production is any indication, here's hoping the company continues making bold artistic choices and that Ben Cook's excellent orchestra is there to lead the way.

Duration: 180 minutes

Disney’s The Hunchback of Notre Dame

Book by Peter Parnell

Music by Alan Menken

Lyrics by Stephen Schwartz

Directed by Doug DeGirolamo

Gaslight-Baker Theatre

216 S Main St., Lockhart, TX 78644

Now playing through August 2nd, 2026

Fridays and Saturdays at 7:30 PM

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