Here are a selection of photos from the show, thanks to our photographer Andy Carter from "Photos with Style" for taking these, all the photos from the show can be found here...

EPSOM PLAYHOUSE
Autumn 2022

Based on the Victor Hugo novel with songs from the Disney film, The Hunchback of Notre Dame tells the story of Quasimodo, the hunchbacked bell-ringer of Notre Dame and his desire to be a part of the outside world.

With a sweeping score and compelling story, The Hunchback of Notre Dame is a magical and unforgettable musical featuring powerful and emotive musical numbers such as ‘The Bells of Notre Dame’, ‘Topsy Turvy’ and ‘Top of the World’.  The Hunchback of Notre Dame will transport you back in time to 15th century Paris to discover an epic tale of love, heroism and acceptance.

CAST

CREATIVES

NODA REVIEW

Gloria Smith

Based on the Victor Hugo book published in 1831 the story focuses on the unfortunate Quasimodo, born with a deformity of the spine and kept captive by his cruel, ruthless guardian Frollo. It was rewritten to include Frollo’s past as a priest and his relationship with his brother Jehan.

The original musical premiered in Berlin in 1999 and was the first Walt Disney Theatrical production to premier outside of the USA, where it ran for three years.

In 2019 it was announced that the musical would be produced and would use a new book by Peter Parnell and new songs by Menken and Schwartz.

On entering the theatre the impressive set of the interior of Notre Dame was on view with its different levels making for attractive stage settings.

It’s quite unusual not to have an overture leading into a musical and it worked really well with the cast in place as the lights came up for an atmospheric opening number.

What a wonderful show this is for the chorus members who were on stage most of the time.

Props were suitable and the costumes were good with appropriate colours for the era. The bright Romani costumes made a strong contrast depicting the totally different lifestyles. The only items out of place were the modern looking desert boots worn by two men in the chorus. 

James Turnbull was first rate as the corrupt and lecherous Dom Claude Frollo. He was manipulative but kindly with Quasimodo and his obsession with Esmeralda was well pointed. He was prepared to go to any lengths to have her for himself.

At the centre of the story Quasimodo, a sensitive, shy and gentle young man was played by Akhil Gowrinath whose mannerisms, demeanour and physicality were brilliant. He was utterly convincing in the role and I’m sure the audience were drawn into the sadness of his life just as I was.

By contrast, the lively free spirited Romani girl Esmeralda gave him a glimpse of real life. In that role Sarah Marr was perfect. She was delicate looking, a great dancer with a wonderful voice. The tenderness between her and Quasimodo was beautifully portrayed.

As Captain Phoebus de Martin, Jacob Botha gave a strong performance displaying both the strength of a cocky Cathedral soldier but later showing that his moral compass is a strong one when he openly defies the corrupt Frollo.

Didrik Finne played Clopin Trouillefou who has an air of mystery and disappears in a puff of smoke from time to time and he acted as Master of Ceremonies. He too gave a notable performance.

The Statues and Gargoyles added their considerable talent to the piece as did Alex Churcher (Lt Frederick) Kathryn Bamford (Florika) and Rick Qureshi (Jehan)

The lighting was extremely good and complimented the many and varied situations –and emotions – ‘Hellfire’ was notable. Sound was good and consistent.

The large orchestra, under the expert baton of musical director Matt Barnford, was well balanced. The volume never overpowered the soloists whose diction was impeccable. I particularly enjoyed ‘Topsy Turvy Day’, ‘God Help the Outcasts’ and ‘Top of the World’. 

Flys were used frequently and were well operated and most of the changes necessary on the stage were accomplished quickly and efficiently by the cast.

Choreography by Katie Leitch was most effective, particularly the Gypsy dances, and I liked that the crowd movements were varied in the different stage groupings. 

Lian Finne’s direction was praiseworthy and she used the talents of the whole cast to great effect. Reversing the parapet for the fall worked really well and my only less than positive criticism is that neither my guest nor I could understand why Jehan and Florika came back onstage before the final telling of the end of the story. It made the ending rather confusing, unless I missed something. However I did hear someone else saying the same thing as I was in the crowd leaving the foyer, so clearly I was not alone.

Everyone involved in the production is to be congratulated on presenting the audience with such a superb evening’s entertainment. The large chorus, onstage for most of the time, were commendable.

From start to finish this production was exemplary and it is one I shall remember for some time to come.

It was good to meet President Chris Evans before curtain up and in the interval and I thank you for your hospitality on the evening.

Good luck with auditions for ‘Sister Act’  - I very much look forward to seeing it in April next year and meantime I wish you all at ELOC a very happy Christmas and a healthy New Year.