Review: THE HUNCHBACK OF NOTRE DAME at Gaslight-Baker Theatre

From July 10 to August 2, Gaslight-Baker Theatre presents THE HUNCHBACK OF NOTRE DAME, sponsored by Carolyn Bryant, CPA., as part of their 2026 season. With the book by Peter Parnell, lyrics by Stephen Schwartz, and music by Alan Menken, THE HUNCHBACK OF NOTRE DAME follows Quasimodo, the isolated bell-ringer of Notre Dame Cathedral, as he longs to experience the world beyond its walls and discovers friendship, love, and his own courage. When the compassionate Esmeralda challenges the cruelty and prejudice of Paris, Quasimodo must confront the oppressive Archdeacon Frollo and decide what it truly means to be human. Blending soaring music with themes of justice, compassion, and belonging, this musical is a powerful and deeply moving retelling of Victor Hugo's classic novel.

There are few musicals in the community theatre repertoire as ambitious as THE HUNCHBACK OF NOTRE DAME. With its soaring score, demanding choral writing, and emotionally complex story, it asks a great deal of its performers and production team alike. Gaslight-Baker’s production rises to many of those challenges, even if opening night showed a few places that will likely continue to settle as the run progresses.

Under the direction of Doug DeGirolamo, with assistant director Billie Guffey, the production maintains a clear focus on the heart of the story despite its considerable scale. The staging makes effective use of the multi-level set, and the large cast generally moves with purpose through scenes that could easily become unwieldy. The result is a production that balances intimate character moments with the spectacle the musical demands.

The principal cast is led by several memorable performances. Nik Farrell, a frequent Gaslight-Baker artist, brings vocal strength and genuine tenderness to Quasimodo, allowing the audience to connect with the character's longing for acceptance and belonging. Kaley Bared's Esmeralda is compassionate and self-assured, and Bared’s impressive dance and vocal skills add polish, playfulness, and power to the production. David Kelly, with a warm and compelling singing style, offers a dependable and likable Phoebus. Justin Whitley, who brings charismatic presence and nearly peerless vocal talent to every role they play, serves as an engaging Clopin, balancing humor with the character's role as storyteller. Will Mercer delivers a capable portrayal of Dom Frollo, providing an appropriately stern and sometimes slimy presence that keeps the story moving toward its inevitable conflict.

One of the production's most enjoyable elements is the ensemble of Gargoyles played by Rose Ruiz, Marek Muller, Laomai Cherry, Darcie Webb, and Diego Arriaga. Their imaginative masks immediately establish these characters as something otherworldly, and each performer brings a distinct personality to the group. Together they become Quasimodo's companions, offering moments of humor, encouragement, and theatrical magic that provide welcome contrast to the musical's heavier themes.

The inclusion of a full choir is another strength. Their balanced choral sound gives weight and grandeur to Menken's score, reminding audiences why this musical has become such a favorite among choral and theatre performers alike.

Ben Cook leads a sixteen-piece orchestra through one of musical theatre's more challenging scores. On opening night, however, there were moments when the orchestra struggled to find its footing. Some tuning concerns, ensemble precision, and balance issues between the pit and the stage occasionally distracted from the performance, and the drum set was mixed so quietly that much of its contribution was lost. Opening nights often reveal technical details that continue to improve during a run, and these are the kind of refinements that can be addressed as performances continue.

Visually, the production is consistently successful. Jess Decell and Doug DeGirolamo have created a versatile set that makes excellent use of multiple playing levels while featuring beautifully crafted bells, the forge, and scenic elements that adapt smoothly from one location to another. The staging feels expansive without becoming cumbersome, allowing the story to flow naturally.

The production also benefits from thoughtful design work throughout. The aerial movement, developed with the assistance of Winnie Hsia and Sky Candy, adds moments of grace and visual interest that fit comfortably within the world of the play. Doug DeGirolamo's lighting supports the changing moods of the story, while Josh Schafer's sound engineering contributes to the atmosphere, despite some opening-night balance challenges. Jessica Chambers' costumes are appropriate to both the period and the characters, with only a minor wish that a few of the stoles had been pressed before taking the stage.

Taking on THE HUNCHBACK OF NOTRE DAME is no small undertaking, and this company deserves credit for embracing such a demanding work. While opening night revealed a few technical rough edges, the production is anchored by strong performances, an effective visual design, and a score that continues to resonate with audiences. As the company settles into the run, this production is well positioned to become an even stronger telling of Hugo's timeless story.

THE HUNCHBACK OF NOTRE DAME

Music by Alan Menken • Lyrics by Stephen Schwartz • Book by Peter Parnell

Theater Company: Gaslight-Baker Theatre

Venue: 216 South Main Street, Lockhart, Texas 78644

July 10 - August 2, Fridays and Saturdays at 7:30 p.m., Sundays at 2:00 p.m.

Running Time: 2-½ hrs, with one 15-min intermission

Tickets: $15-25

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