I have a long and enduring history with Cabrillo College and its outstanding theater department in Aptos, California, beginning with the first musical production I ever attended as a child, their 2004 production of The Music Man. This first impression automatically set a high bar for me regarding excellence in the onstage and offstage talent, production design, direction, and overall immersion in the sights and sounds experience.
Their latest stage production adapting Disney's 1996 animated version of Victor Hugo's 1831 novel The Hunchback of Notre Dame is no exception; from the outstanding cast and choir, Vinh G. Nguyen's emotionally and thematically powerful direction, Skip Epperson's highly immersive production design to Michael J. McGushin's skilled musical direction and conducting of legendary Disney composer Alan Menken and Broadway lyricist Stephen Schwartz's compositions. While there are notable differences between the animated version and this stage adaptation (namely, the ending, which I won't spoil here), the overall production is an excellent balance between the lively fun of the animated film's musical spectacle with the darker and ultimately tragic themes of love and acceptance amidst cruelty and ethnic and religious oppression. Without further ado, here is my (mostly) non-spoiler review of Cabrillo Stage's production of The Hunchback of Notre Dame.
The story follows Quasimodo (played by Juan Castro), the physically deformed yet kind-hearted bellringer of the Notre Dame de Paris cathedral, who longs to go outside the confines of his bell tower and witness the Festival of Fools in the streets of Paris, France, against the demands of his master (and, in this production, his uncle), the cruel and self-righteous Dom Claude Frollo (played by David Murphy). There, he crosses paths with the spirited yet compassionate Esmeralda (played by Kristi Garcia), who persistently fights for the survival of the Romani people, who people like Frollo relentlessly persecute, and the suave and charismatic Captain of the Guard, Phoebus De Martin (played by Omar Alejandro Rodriguez). Will Quasimodo seek the acceptance and love he longs for 'out there', or will he remain forever confined to his bell tower? I mustn't spoil it because you should see it while it is still playing.
As I stated earlier, the cast is outstanding. Beginning with Juan Castro, who, as Quasimodo, brings not only an immediate likability to the titular character and powerful vocals but a level of complexity as he struggles with himself whether to help his friends or dwell on whether the world will continue to judge him based on what Frollo describes the world as. On a side note, I find so much relatability in Quasimodo, for as an Asian American on the Autism Spectrum, I frequently struggle with whether I will be fully accepted in society, given my enthusiasm for certain hobbies and general lack of social skills.
Moving on to the rest of the cast, Kristi Garcia knocks it out of the park as Esmeralda, for she breathes a firey passion and genuine vulnerability into her completely mesmerizing performance. Omar Alejandro Rodriguez also excels as Phoebus, for alongside his charisma, charm, and strong vocals, he serves as an excellent love interest for Esmeralda, with whom they share excellent chemistry. David Murphy's performance as Frollo perfectly encapsulates the vile and detestable self-righteous "Christians" that are too prevalent in our society that oppress certain ethnic groups and communities out of fear, hatred, closemindedness, and self-centeredness. With every instance where Frollo starts to realize his misguided ways, he doubles down on his self-righteousness. I mustn't forget the incredible choir for this production, for both the female and male vocals ring out as clearly as church bells (so to speak), and their harmonies are heavenly.
The recurring line for this production at the beginning and end is "What makes a monster, and what makes a man?" This line is not only an essential theme of both the show and the source material, but it is also one that is still as relevant now as it was then. Director Vinh G. Nguyen clearly understands this, given the ever-persistent presence within our society of xenophobia and oppression inflicted upon certain ethnic and racial groups of people by those claiming to do it in God's name. This makes The Hunchback of Notre Dame a more than appropriate production to bring to the stage at this moment in time. Moving on to the production's technical merits, Skip Epperson's production design, which recreates part of the Notre Dame cathedral and the wooden scaffolding set around the towers (which the actors climb up and down to great effect), and two bells that actually ring, is astounding. I have to give special props to the people running the lighting and special effects for the varying levels of mist, which further immerse the audience into the ethereal and mysterious atmosphere of the story.
In conclusion, Cabrillo Stage's The Hunchback of Notre Dame is another knock-out production that is sure to enthrall, move, and leave audiences pondering about not only one's capacity for good and evil but also those individuals and people groups suffering at the hands of certain powerful individuals and institutions within our society. It also makes a strong case for the need for compassion toward and acceptance of those less fortunate individuals and societal outcasts in this world of cruelty and violence because, as Esmeralda sings in the final verse of her song, "God Help the Outcasts":
"I ask for nothing, I can get by But I know so many less lucky than I Please help my people The poor and down trod I thought we all were the children of God God help the outcasts Children of God."
Go see this musical, for you will not regret it!
Final Score: 10 out of 10
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