Review: ‘Hunchback of Notre Dame’ at Terrace Plaza Playhouse

Production photos of “Hunchback of Notre Dame.” Courtesy of Terrace Plaza Playhouse

REVEW

"The Hunchback of Notre Dame"
Music by Alan Menken, lyrics by Stephen Schwartz, book by Peter Parnell
Directed by Aaron Ford
Terrace Plaza Playhouse
Terraceplazaplayhouse.com
801-393-0070
99 E 4700 S, Washington Terrace 84405

Kudos to director and choreographer Aaron Ford; music directors Arianne Hellewell and Nicole Atkinson; and costume design team leader Jacci Olsen Florence for managing a cast of 48 people on the not-giant stage at the Terrace. From the beginning with the ceremonial entrance of the chanting choir, to the middle with "Rhythm of the Tambourine," to the very end with a reprise of "The Bells of Notre Dame," this crowd of performers worked smoothly with high energy for the entire two hours of the production.

The performance I saw featured Jake Heywood as Quasimodo, and he was exceptionally sympathetic. When he cries out at Esmeralda’s death, I did, too. He didn’t play Quasimodo as a monster, but as a simple man with a tender heart. He was heartbreaking.

So was his introduction. Ford shows two parents — a renegade and a Romani woman — bringing him into the world down center stage, then draping him with the costume piece that turns him from man to monster. At the end, his parents come to take him to heaven, lifting the costume piece from his shoulder. He stands up, a complete and flawless man.

I just hate it when the happy ending means everyone goes to heaven. But that’s the only happy ending in this story about the cruelty of the world and the hypocrisy of the church. There is no question that the villain of this story is a representative of holy orders, nor that he is downright mean and hypocritical, preaching one thing and doing another.

As the villain Dom Frollo, Blaine Hickman was suitably icy and bullying, reminding Quasimodo constantly of the monster he appears to be. Frollo is the real monster in his devaluation of everyone else but his own holiness. He is blind to humanity. He follows the "rules," which generally leave humans out of the equation.

Olivia Lusk-Garibay, as Esmeralda, added the bright notes and joy needed to keep this relentlessly sad story suitable for the stage. She and her lively corps of Romani women made the most of their vivid costumes and scarves. I’ll bet half the audience went home swishing skirts they weren’t even wearing.

Dre Hay, as Clopin, carried the weight of stage time, lines and songs. He is the narrator who guides us through the story with the entertaining stance of a court jester, and we are the royal audience in this Fool’s Holiday.

For me, the "church music" is my favorite part, as I love references to pre-Renaissance harmonies, melodies and chants. When the Choir of Monks, apparently all 48 cast members, come through the darkened audience clothed in hooded robes with their individual candles glowing, it was truly a religious experience — especially if your religion is theater. I don’t know if the sound designer added reverb, but it certainly seemed like their voices were echoing through the building itself.

I read that Victor Hugo, the author of the book this musical is based on, was writing to protect the preservation and restoration of Notre Dame, which was being "modernized" by city leaders. The building itself was the main character, with all the other humans being little side stories that happened to take place in Notre Dame. He would be surprised to see how they humanized his story by fleshing out the lives of the characters.

As a theater audience member, I was very pleased with the director’s choices and the artists’ performances. Yay! to the Terrace Plaza Playhouse for continuing to bring us opportunities for performers and audience members alike.