From the moment this show was announced by The Royal Theatre's 2023-2024 show line-up, I eagerly awaited the moment I could purchase tickets. As a child of the '90s, I grew up loving just about everything Disney put out, but Hunchback was by and large one of the top picks my mother regularly had to pop into the VHS player.
But don't let your nostalgia set your expectations, because this show may share some of the same qualities but stands alone as a show unlike any I've seen in Arkansas for some time. Several times, my wife, myself, and the patrons near me questioned whether we were actually watching a community theatre production or, by some Disney magic, we'd been whisked away to Broadway itself.
Technical
Directed by local legend, Bob Bidewell, and Co-Directed by Dariane LyJoi Mull, the intentionality behind the set, the costuming, and the music, MD'd by Angela Collier, was evident from the first few notes sung by the twelve-person choir. From the opening number onward, I feel that I can speak for more than myself when I say that you feel whisked away to the streets and belltowers of Paris, a place that as previously stated, may feel nostalgic and familiar.
If you've ever been inside the Royal, you'll quickly recognize the use of space and levels depicting when we've left Quasimodo's bell tower to the streets of Paris. Bidwell and Mull did a fantastic job of separating these spaces and making them feel wholly unique. The festivity of the streets juxtaposed against the prison-like tower truly brought these spaces to life.
And the lighting, I must say, was stunning. There were a few moments when I felt myself gasp at the design of the vignettes and how the designer silhouetted some of the "final shots". Specifically, anyone seeing this show will be absolutely stunned by the finale and how spectacularly it was designed.
The only note of worth I have for this show as a whole was the volume levels between the music and casts. Many times, throughout the show, it was difficult to hear the softer moments from the performers, which unfortunately took away from some of the experience, but not by leaps and bounds. Of everything experienced through the show, this was the only thing that took me from giving this show a Perfect Ten. (But hey, a 9.5 ain't bad)
Performance
So much of this cast was brilliantly selected and placed within roles they were destined for, and I want to make sure I highlight their performances, but I must note just how exceptional the choral group for this show was. Their ability to never draw unintended attention away from what was happening on stage was remarkable and while always in the open for the audience, gave the true feeling of a pit choir. The blend of tones and vocals truly "took me to church" and left me always wanting more of their haunting addition to the show's numbers.
Now, getting into the meat of the performers, I just have to say...Wow. As a fresh face on the local theatre scene myself, I am continuously blown away by the astronomical talent found in our humble city and greater Metro area. Of the five principal characters who frequently find themselves in the spotlight, it's hard to pick a favorite, but they each brought tremendous talent to the stage.
Seth Nuss (Quasimodo) portrayed what, in my opinion, is one of the more difficult roles for men in the theatre world. Yet, his vocal control and ability to seamlessly shift his character between how the world viewed Quasi and how Quasi viewed himself was remarkable, to say the least. While his teacher and "protector", Timothy R. Tucker (Claude Frollo) brought to life one of my favorite characters in a way I did not imagine was possible. Giving Jeremy Irons a run for his money, Tucker portrayed Frollo in a way that, in my opinion, made him a loveable villain by circumstance to the very end.
Steven McConkie (Captain Phoebus de Martin) and Tyranni Hubbard (Esmeralda) play our budding romantics, two individuals drawn together by life and a growing distaste for the actions of the church. McConkie, usually found engineering the sound of local performances, was an absolute powerhouse and honestly caught me off guard with his talent. Hubbard's voice and characterization of Esmeralda were a brilliant pairing to McConkie. Whereas I often find myself skipping "God Help The Outcasts" when revisiting the show's album, Hubbard drew from a place of hope, rather than sorrow, that kept me wide-eyed and awake through her standalone performance.
Lastly, it was a pure delight being able to see Christian Waldron (Clopin Trouillefou) perform for the first time (my first viewing, not his first show!). Ever the trickster, Waldron brought his own flavor to Clopin's character that had me wondering what theatre is going to put on Aladdin and cast him as Genie! Once I was able to move past my goosebumps brought on by his voice, I often immediately found myself drawn to laughter from his reactions to the rest of the cast.
So many other talented voices and performers graced the stage and brought life to the show. To no one's surprise who has seen a Royal show. Jeremy Clay (Saint Aphrodisius/King Louis XI) was an absolute riot and brought so much humor to the stage. Every member of the congregation, especially Chase Albaugh, Sa'Teh Hampton, Evan Hamilton, and Hannah Blacklaw were consistently individuals who I kept an eye out for and enjoyed seeing their portrayal of the various pieces and parts they brought to life.
Final Thoughts
Overall, I could feel my energy returning after seeing this show and coming off of back-to-back performances myself. It reminded me of how talented our community is and how even with a show that, from an outside perspective, seems impossibly huge, it can be done with the right people.
My congratulations to the cast for bringing to life one of my favorite stories and making it your own. I suggest to all in the Metro to grab your tickets now, as there are six more opportunities to make your way down to the Royal to see it. If you're looking for a fresh take on a classic tale that is vocally tremendous and visually stunning, this is the show for you.
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