★★★★

Reviewer - Stacy

*Disclaimer: Gifted tickets in return for an honest review.

Stepping into the world of Victor Hugo is a huge ask for many, but you're in safe hands with Durham Musical Theatre Company. Their production of The Hunchback of Notre Dame has had a few false starts along the way, due to covid. But this week marks its northern premiere at Durham's Gala Theatre. The society’s award-winning production trio, consisting of Fred Wharton as director, Malcolm Moffat as Musical Director and Kathleen Knox as choreographer, have teamed back up to bring you this new musical, which is visually and vocally en point.

Setting the scene is an enchanted set that is breathtaking in its visual charm. Whilst taking your seat, you're drawn instantly into the faithful world of the cathedral, with only a hint of the Parisian world 'out there' by the light dancing across the stage through the stained glass window. It's a visual treat and a strong starting point.

The comprehensive score features songs from the Disney animated film, along with additional numbers by Alan Menken and Stephen Schwartz. Vocally this show knocked it out of the park. All choral numbers brought the stage to life, with harmonies that melted together in pure perfection, to create many moving moments throughout the show. Individually, the challenging score was attacked with heart and passion, to deliver performances packed with velvet tones that bring home the powerful messages of the story.

Quasimodo, played by Steven Berry, took the main mantle with sheer determination with a performance that was vocally rich to meet the demands set out by the score. Shireen Gale stepped into the shoes of Esmerelda with a pitch-perfect balance of intrigue and independence needed to bring the enchantress to life. Graeme Walton grabbed the part of Phoebus with both hands and gave a competent vocal portrayal and Anthony Smith attacked the role of Frollo with the right amount of moral torment needed. Last but not least, was Michael Taphouse, with his portrayal of Clopin 'King of the Gypsies' to bring the energy and comic relief to the narrative. Together this mighty cast created special moments on stage, backed up by a vocally sound ensemble and a superb orchestra that excelled at the job at hand.

My biggest critique comes in the shape of some of the staging. Due to an extensive size cast, I felt that the spacial set up in full choral numbers created a crowded effect, which muddied the clarity on stage, to fully appreciate the distinction between dancing, solo singing and acting. Also due to cast size, segues between scenes lagged getting people off and on stage - a staggered approach may have prevented this delay. However, I don't think that I have heard such a vocally sound performance from an amateur operatics society before and it made me extremely proud of the talent that we harbour in our area. Taking this production from a three-and-a-half star to a four star review.

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