If you’re going to return to the stage after a two-year absence, you want to do it in rip-roaring style – with bells on.
Cue The Hunchback Of Notre Dame, Phoenix Theatre’s grandstanding production that marries the froth and fun of the Disney film with the dark tinges of the source Victor Hugo novel in a musical that doesn’t pause for breath.
It was a special night for this venerable Aberdeen company – the Scottish amateur premiere of Hunchback, the first live theatre in the Granite City since the Christmas lockdown and a belated 30th-anniversary show for Phoenix.
But this treat for the eyes and ears easily reached the high bar that had been set.
From high bell towers to low taverns
We all know the Gothic story of Esmeralda and Quasimodo and most of us are familiar with the Disney film, whether having watched it with the kids or as a kid.
So it’s a tall order to take that animated classic to the stage – complete with all the familiar songs.
However, clever staging, nifty costumes, atmospheric lighting and a big-screen backdrop flitting between the high bell tower of Notre Dame and low taverns of Paris helped the translation.
What really cemented it was the 16-piece orchestra that played almost continuously, offering up a lush score that gave the show a properly cinematic feel.
It would have been a joy to listen to even if the stage had been empty.
But it wasn’t empty, far from it. This was a full-on ensemble piece that at times saw the stage packed to the gunnels as massive song and dance numbers broke out, with showstoppers like Topsy Turvy and Rhythm Of The Tambourine.
The quieter moments allowed the principals to shine. Jonnie Milne imbued Quasimodo with both pathos and playfulness, which blindsided you when his voice went into top gear for haunting numbers like Made Of Stone.
Jo Gallagher is a stunning Esmeralda
Simply outstanding, though, was Jo Gallagher as Esmeralda. Her voice was stunning and her rendition of God Help The Outcasts was spellbinding. The theatre came alive every time she burst into song.
Special mention, too, to Mark Smith as Frollo, the tortured cleric whose infatuation with Esmeralda made for a riveting take on Hellfire, full of repression and frustration.
One of the mainstays of the show’s success was the Congregants, who flitted between playing talking statues and gargoyles, as well as gypsies, Paris citizens, all while shifting sets around and even providing the exposition to push the narrative along.
How to see The Hunchback Of Notre Dame
This was a show that won over the audience, underlining this amateur company’s reputation for delivering on ambitious productions.
It is well worth catching – especially for that rather excellent orchestra.
The run of The Hunchback Of Notre Dame ends at Aberdeen Arts Centre on Saturday January 29. Information and tickets can be found at aberdeenartscentre.com
