Music by Alan Menken

Lyrics by Stephen Schwartz

Directed by Sally Lyall

Musical Directed by Colum Findlay and Fraser Hume

Cutting to the chase – the talent and determination of the entire Captivate Theatre team has always carried a guarantee of solid entertainment and an absolute beacon of brilliance for the Edinburgh grassroots community.

They never turn in a poor show.

But when Captivate listed one musical in particular this Fringe season, a notoriously complex and seldom performed one, steeped in a cruel story, with diverse and intense lyrics which challenge even the most rigorous and capable of performers, we knew this could be something rather unique and special.

The history of this exquisite musical exists in an unfortunate realm: tied into various union, financial and perceptive concerns. And until fairly recently, productions of The Hunchback of Notre Dame have been limited outside of Berlin (never performed on Broadway) where it has continued to play to rave reviews and thunderous praise from audiences as Der Glöckner von Notre Dame.

Opening not with the titular Hunchback, but rather a pair of brothers, the musical deviates from the award-nominated animated film it takes principal inspiration from and instead aligns closer to Victor Hugo’s original work. The piety of Dom Claude Frollo intensifies following the death of his heavily ‘sinful’ and gluttonous brother, who sires a child with a gypsy, the lowest form of standing for the future Archdeacon. This child, cruelly named Quasimodo due to his physical deformities, becomes Frollo’s ward out of guilt and abuse, rather than adoration for his nephew.

Kept alone in the bell tower of Notre Dame, Quasimodo becomes the mysterious bell-ringer, rendered deaf and wary of the world outside. That is until the Feast of Fools comes around once more and Quasimodo seizes the opportunity to explore the world his master has always claimed to be wicked. Despite its setting in 16th-century Paris, the resonance of the tale ring as loud as the bell tower, which infamously asks us to question the monstrosities we are capable of, and the prevailing xenophobia which exists nearly two-hundred years later.

For the uninitiated, the score and lyricism of the musical, chiefly constructed from the 1996 Walt Disney animated feature, are some of the most poignant and rich in Alan Menken and Stephen Schwartz’s library. The scale of Menken’s composition set the stage perfectly for a show with huge emotions and even bigger numbers. None make quite as heavy an impression as God Help the Outcasts, Camila Lopez’s solo number the gypsy Esmerelda.

There is a myriad of fancy words, delightfully colourful adjectives and idioms which could be conjured about Lewis Kerr’s performance as Quasimodo. To settle for simplicity: the performance is beautiful. The sincerity, vulnerability, and unyielding strength (physical and emotional) of the Hunchback are perfectly captured – not solely to demonstrate Kerr’s ability, but to magnify the gentility or antagonism of those around him. It’s in stark contrast to Aidan McGrath’s more reserved (until pushed to his limits) and controlling performance as Frollo.

Vocally, McGrath makes as distinct an impact as Kerr, a more bass counterargument to Kerr’s wider, often higher range. The pair’s back-to-back mirror numbers Heaven’s Light and Hellfire deservedly receive eruptions from the crowds. A special mention for these numbers, as the ensemble makes a wonderful impact all around – harmonising (mostly, with a few high notes breaking apart), and often playing additional roles as Frollo’s lieutenants, or the isolation-induced hallucinations of Quasimodo.       

Often rounding up the rabble of the chorus, Hudson Scheel serves as a character and frequent narrator, Clopin, King of the Gypsies. A roguish fiend, Scheel holds the court with ease, toying with the theatricality of it all embraced in Charlotte Nicholson and Mairi Cross’ gorgeous bohemian and lustrous costumes, each fitting of their character and furthering the audience’s snappy connection with them, from the authority in Frollo’s robes to the humbleness of Quasimodo’s rags.

With a prevailing sombre tone, The Hunchback of Notre Dame sits closer to Hugo’s novel in terms of the complexity and theme – it’s a dark musical, one of grim realities, prejudice, and trauma. The stakes heightened with Lopez’ infectiously kind and humorous presence and chemistry with Hamish Cole’s charismatic Phoebus, who by the end of it all is just as sobering and poignant as the rest of the characters – his humour gone, hope long lost.

And what a sound. What a band, and sublime vocals ringing out over the bells this evening. A full band, consisting of musical director Fraser Hume, Jamie Lang, Gwen Hunter, Alive Huseyinoglu, Ruari Fraser, Joanna Reed, Anna McLean, Julie Robinson, Morgan Broughham and Jonnie Grant work in harmony to capture the majesty of the score, and still manage to balance it perfectly in a different venue than Captivate’s usual summer home at the Rose Theatre.

The scale and talent of the Edinburgh grassroots companies is always encouraging and moving but this – this is something special. A lesser-performed musical of a story known but often misunderstood, The Hunchback of Notre Dame is the one show you should be booking this Edinburgh Fringe.