Black Sheep Theatre Productions return to Joseph Rowntree Theatre this week to share their latest offering, The Hunchback of Notre Dame – an ambitious piece of theatre which marries Victor Hugo’s classic tale with soaring choral work and raw emotion.
Based on Hugo’s 1831 novel and 1996 Disney film, and featuring the powerful score by Alan Menken and Stephen Schwartz, the show follows Quasimodo, the disfigured bellringer of Notre Dame, as he navigates isolation, cruelty, and his yearning for acceptance.
The Hunchback of Notre Dame is at the Joseph Rowntree Theatre from Friday 10 to Saturday 18 October.
The Joseph Rowntree Theatre stage was left open and exposed as we entered the auditorium, a striking choice that laid the production bare in many respects. Rather than filling the space with clutter or additional set pieces, the ensemble framed the action, interwoven amongst church pews and a level of scaffolding. A crafted stained glass window hung centrally, acting as a visual reminder of the scale and haunting setting of this tale.
As the ensemble took to the stage, cloaked and mysterious, there was an almost Traitors-like anticipation in the audience; who are these figures, and what secrets do they hold? When the robes were cast aside, we met the people of Paris one by one, and the choral power of ‘The Bells of Notre Dame’ hit like a revelation.
This ensemble was fundamental to the show’s success. Armed with their folders, they tackled Menken’s notoriously challenging score with commitment, precision, and genuine passion. Their sound was rich and immersive, a triumph shared by the exceptional 13-piece band, who handled every complex rhythm and swell with finesse. Under the competent hand of Matthew Peter Clare, the musicians played with such cinematic clarity that it was easy to forget we weren’t listening to the original Disney soundtrack; high praise indeed.
Director Clare is never one to shy away from creativity, and here he takes a bold route. Drawing inspiration from both Hugo’s novel and interpretations seen in the 2016 U.S. production, Clare presents not one Quasimodo, but two, representing both the character’s body and voice. Jack James Fry portrays the deaf Quasimodo, while Dan Poppitt becomes his vocal expression; the result is nothing short of mesmerising.
Fry’s physical and emotional commitment is extraordinary, his use of British Sign Language adds a new layer of poignancy and accessibility. Poppitt’s rich vocals in iconic numbers such as ‘Out There’ soars effortlessly, with the two performers blending movement and sound in a way that feels heartbreakingly authentic.
As the tormented Claude Frollo, Jack Hooper delivers a chillingly controlled performance, a notable departure from roles we’ve seen him in before. His rendition of ‘Hellfire’ was a highlight: dark, desperate, and masterfully delivered. In contrast, James Robert Ball brings shades of his previous role as Puck in York Stage’s A Midsummer Night’s Dream to Clopin Trouillefou, offering a light-footed, enigmatic portrayal that injects energy as he enters the stage.
Ayana Beatrice Poblete’s Esmeralda brings warmth and gumption to the role. Her vocals were heartfelt, growing in confidence throughout, and her chemistry with Robbie Wallwork’s earnest Phoebus de Martin provided several tender moments, particularly in act two. Their scenes, complimented by Adam Kirkwood’s evocative lighting design, enabled real depth and intimacy.
Ollie Nash’s sound design also deserves recognition for balancing the large vocal ensemble with clarity – no small feat given the scale and complexity of this score. Occasional mic delays aside, the mix was clear and showcased each choral soundscape.
Black Sheep Theatre Productions continue to champion art with purpose and passion, and this production radiates both. Intense yet heartfelt, it reminds us that Hugo’s message of compassion and acceptance remains painfully relevant. For those seeking a piece of theatre that is raw, ambitious, and unapologetically human, The Hunchback of Notre Dame is well worth the climb up to the bell tower.
Performances continue at the Joseph Rowntree Theatre until Saturday 18 October. Don’t miss this powerful production.
Tickets start from £14 and are available via the Joseph Rowntree Theatre website.
