Booked & Scene

The Company Theatre has brought Victor Hugo’s The Hunchback of Notre Dame to life with co-direction by Zoe Bradford and Sally Ashton Forrest. Based on Victor Hugo’s classic novel, The Hunchback of Notre Dame follows the story of Quasimodo, the gentle yet misunderstood bell-ringer of Notre Dame Cathedral. Living in isolation under the control of his menacing master Claude Frollo, Quasimodo longs to be part of the world outside the bell tower. When he meets the compassionate Esmeralda, he finds friendship, love, and courage though the world around him proves far harsher than he imagined. 

The Heart of the Bell Tower & The Spark of the Square

Salvatore Guillermo Garcia was the undeniable anchor of this production. He brought boyish wonder and warmth to the early moments of the show, then gradually revealed a hardened edge as the world’s cruelty set in. His voice was commanding, his stage presence magnetic, and his connection with the rest of the cast palpable. Garcia’s scenes with Celena Lopes’ Esmeralda were especially touching, filled with warmth and vulnerability. His interactions with the gargoyles: Mel Carubia, Gilbert Dabady, and Anne Martland, were equally delightful, capturing the sense of family and loyalty that makes Quasimodo so endearing. Garcia’s performance alone is reason enough to see this production. Celena Lopes was a mesmerizing Esmeralda. From her electrifying dancing entrance to her tender duets, she exuded both strength and compassion. Her scenes with Jack Roussell as Phoebus de Martin were also standouts, highlighting their playful banter and eventual romantic connection. Vocally, Lopes was stellar: rich, clear, and powerful, and her performance felt effortless. Her chemistry with Garcia is tender and believable, and their shared scenes anchor the story’s emotional resonance. Their duets were highlights of the evening, leaving the audience completely captivated. I’d listen to the two of them sing anything at anytime. 

The Company Shines 

Jack Roussell brought charm and humor to Phoebus, making his character feel fully realized and multidimensional. Peter Adams delivered a chilling Don Claude Frollo, managing to make the audience loathe his villainy while still commanding the stage. The gargoyle trio, Carubia, Martland, and Dabady, added levity and heart to the bell tower scenes, playing beautifully off Garcia’s Quasimodo. Jacob French impressed as both Young Claude Frollo and the delightfully macabre St. Aphrodisius, especially in the scene where he kept repositioning his severed head for comic effect. Ensemble highlights included Dru Daniels as Florika and Alyssa Norton as Madame. The rest of the female ensemble deserves special recognition. Acting as narrators and weaving in and out of the story, they elevated each scene they touched. Their precision and presence helped create the rich atmosphere of 15th-century Paris and gave the show a sense of cohesion and life.

Ringing True

Musical direction by Robert McDonough was a triumph. The 22-person choir, the ensemble, and the leads all delivered powerhouse vocals that filled the space beautifully. Having the orchestra visible rather than hidden in a pit added to the experience. Kiera O’Connor’s costume design created a believable 15th-century Paris. The gargoyles’ looks in particular stood out, and the overall visual world felt cohesive. The only minor distraction was the jingling of the coins on the gypsy skirts, which the microphones amplified more than intended.

A Few Cracks in the Cathedral

Lighting was the production’s biggest weakness. Key moments were often dim or uneven, with actors caught in shadow or fully obscured, especially the gargoyles, who blended into the set when not lit properly. Sound cues were also an issue, with mics coming in late and losing the first few words of dialogue or lyrics. Additionally, the stage combat lacked realism, leaning toward campy slapstick in a way that clashed with the otherwise serious tone. Lastly, while the 22-person choir delivered some of the most stunning moments of the night, they were not given their own bow. While the choir was acknowledged by the cast after the final bows, I couldn’t help but feel that their contributions deserved a moment of their own. With their sheer vocal power and presence that they brought to the production, giving them the chance to step out of their seats and take a bow would have allowed the audience to fully celebrate the essential role they played in the show.

A Man, Not a Monster

The Company Theatre tackled a demanding show with ambition and heart. Despite technical hiccups, the vocal performances and emotional core of the production are exceptional. Garcia and Lopes are a duo worth seeing, and the choir’s sound alone could raise the cathedral roof.
At its heart, this production reminds audiences that Quasimodo is not a monster, but a man who longs to belong. The Hunchback of Notre Dame runs through August 17 and is a story of love, acceptance, and the power of compassion and this staging brings that message to life.