REVIEW: The Hunchback of Notre Dame (Workhouse Arts Center)
I thought my year would be ending with Death on the Nile— but sometimes, a show drums up enough murmurs to take you out of your seasonal retirement. The last few weeks I’ve seen my Instagram feed be spun up abound with posts of this “ravishing” new production of Disney’s The Hunchback of Notre Dame out at the Workhouse Arts Center in Lorton, Virginia (a location that I think stretches the definition of “DMV”.) So I thought why not: I’ve never seen a production (it’s a rare Disney one that hasn’t made it to Broadway), it’s a new venue for me, and the Commonwealth of Virginia tends to not fail me on the theatre front.
Book/Music
With a combo like Alan Menken and Stephen Schwartz, you can’t possibly go wrong, right?
…Right?
Regretfully, their mediocre score fails to deliver the heft; instead of a narrative ebb and flow, it feels maximalized from the very beginning and much of the action fuses together like melted candy. Yet it was Peter Parnell’s book that was my least favorite element, covering the title character’s attempts to join modern (1400s) Parisian society despite his oppressive guardian, Claude Frollo, and his introduction to Esmeralda, a local gypsy with a heart of gold. Red herrings that felt like afterthoughts, character arcs that fail to comfortably resolve in the puzzle of personalities, and side characters that go woefully under-used all drag down a potentially great exercise in a (literal) gothic thriller. 4/10
Acting
I had the treat of having three (3!) understudies take over at my performance: Alicia Braxton (Narrator 2), Amelia Jacquat (ensemble), and Thea Simpson-Diaz (Esmeralda). It seemingly being their first show in the roles, they killed it: Simpson-Diaz particularly shines as the deuteragonist, to the point where it earnestly feels like her show more than the titular Hunchback’s. It’s Esmeralda singing the troubles as a member of an unwanted ethnic group, culture, and sex in under the thumb of the puritanical Frollo (the chilling Michael McGovern) and in tow with the dashing charm of Noah Mutterperl’s Phoebus. This duo, and Ariel Friendly’s spiky gypsy leader Clopin, picked up the pathos where James B. Marnin’s Quasimodo tended to fall flat, vocally — a disappointing turn where I was expecting some of the most oomph to match his vivacious presence elsewhere. 6/10
Production
Emily Jones’ direction hits the mark with only a few missteps. Namely: the cluttered blocking that befuddles in the early numbers. However, things right the course as the show proceeds. Anna Longenecker’s suave choreography deftly flies between busy streets and fluid gypsy sways, all while anchoring the hulking gait of Quasimodo to the forefront of our vision. Judith Harmon’s creatively bedazzled costuming is also frequently on display (particularly with the gypsies), and her use of color is eye-catching without being distracting (plus, the commedia dell’arte masks for the gargoyles was a terrific choice.) The same can be said about Matt Liptak’s gothic scenery, featuring a stage door that is modeled from the famed stained glass window of the real-life church. 8/10
Viz
The luscious jewel tones of the imposing stained glass help soak the space in color, proving an elegantly royal ambience. It really helps bring the audience into the piety of the space, complete with the bells in line at the back. There isn’t a proper (physical) program, but even the lobby joins the fun with rich dramaturgy on gothic slabs adorning the walls. 9/10
Verdict
Hunchback is a splendidly-crafted epic featuring excellent production values and some stellar performances, but a milquetoast book and weak lead vocals feel like sticking points. 27/40
