Theater Review: Regional debut of 'Hunchback' rings triumphant

Pat Walsh as Quasimodo in Upper Darby Performing Arts Center's "The Hunchback of Notre Dame" Rachel Lombardo

The Upper Darby Performing Arts Center production of "The Hunchback of Notre Dame" this weekend has prompted a couple of firsts: one, it was the first performance I've ever seen at the PAC, and second, this was the first regional production of the stage version off-shoot of the 1996 Disney animated musical. After the first "Hunchback" performance on July 28, I asked myself in amazement why I hadn't been to shows at the PAC before, then I wondered why more theaters weren't putting on this gorgeous, grandiose show. I couldn't answer the former, but the enormity of the production answers the latter.

"Hunchback" is an elaborate and big musical based on the Victor Hugo novel about the grotesque Quasimodo that takes place on a single 30-foot tall cathedral set that houses a 30-member chorus, features a stain glass impression and is decorated with large bells, kind of like the real Notre Dame in Paris.  At the helm for the Philadelphia-area premiere is the PAC's own Jeff Dietzler who is graced with having such a large venue to host the massive production and having all of the talent needed on- and off-stage to tackle the epic production.


Noted for being darker than its Disney source material, the stage musical of "Hunchback" lingers closer to the Hugo novel than the more family-friendly movie. Quasimodo is shunned to the bell towers of the Notre-Dame de Paris by his overprotective uncle, the Archdeacon Dom Claude Frollo. One day he escapes and sees the grand intrigues of Parisian life, capturing the attention of Esmeralda, a gypsy. What follows is a story tackling the dark themes of personal identity and worth, loneliness and salvation told in lavish musical numbers and quieter moments of honest interaction.

I really enjoyed this musical, and much of the credit has to go to Dietzler who had to take a rarely performed show and start from scratch to get it ready for the PAC. There wasn't much to look back on as he could have done otherwise for shows that are frequently performed, e.g. "Annie", "Grease," "Beauty and the Beast". It was a great risk for him and the PAC to take the initiative to mount a show so big and audacious and rich as this and it really paid off. The direction was beautiful and took great advantage of all of the performing space, which I thought would be damning to the show if it could not adequately use it all. Even for a "small" community theater, the PAC has proven that shows too big for Broadway, like "Hunchback", can find a good home there. It is a startling achievement that something so vibrant and steeped in such rich production design has never made it to The Great White Way, but I'm glad we got it and Dietzler gave it the dignity all shows deserve.

Warranting just as much praise as

Chris Monaco as Frollo sings on from the gorgeous cathedral set. Jim Mergliano

Dietzler and his great production team are the actors, especially Chris Monaco as Frollo, Pat Walsh as Quasimodo and Tristan Horan as Captain Phoebus de Martin. These three men are beautiful performers who know how to act for the stage because they all have a love for the stage. It was at times an overwhelming cathartic experience watching them tackle their very different characters and at a level of professionalism that seems to be more than the Summer Stage program would ever need. They acted from the heart and with the right amount of refinement and self-awareness as to not do too much with their material. That is extremely important to Walsh considering he has the most vulnerable character in the show, and he could not have done any better.

Horan had the blessing of being both comedic and dramatic in his role as the self-righteous authority in charge of the streets of Paris. As Phoebus he could charm the pants right off with you with his suave debonair and then seduce you with his strong singing voice. Monaco was very convincing as the overbearing Frollo as he demonstrated a genuine sense of nurturing to Quasimodo at the beginning and unveils his devilishly wicked ways by the show's end. His range as an actor is easily seen.

The choir, too, was an important supporting player of the show, emitting an ethereal aura from the "rafters" of the cathedral thanks to choral director Eric Longo.

If anything was a miscue in the production was Sierra Wilson as Esmeralda. Can Wilson act, sing and dance? Yes, she can do very well what is required of a performer, there is no questioning that. I think Wilson is bigger than playing the hooker with a heart of gold. She is incredibly charming and with an infectious personality that endears you to her and I think she is meant for a role with more panache and excitement to it. She truly shined during a handful of numbers in the beginning when she uses her sultry moves to intrigue the audience and her fellow gypsies. Wilson can truly wake up a room with her energy and persona. That's the Wilson I want to see more of.

"Hunchback" could not come at a more important time in the world. Its message about being kind to each other and how positive attitudes of humanity are much needed. A few weeks ago I saw the film "Detroit" about the 1967 Detroit riots, and that movie was so full of hatred it was incredibly unsettling. Watching "Hunchback" gave me an uplifting boost that reminded me that people can be good, and good to each other, not to mention the lavish sets, gorgeous musical numbers and lighting design that were a feast for the eyes. "Hunchback" is a grand experience that should be taken advantage of during its theatrical run at the PAC. It's recommended for children over the age of 12, but I think even younger kids will be amazed by its innovation and creativity like I was.

"The Hunchback of Notre Dame" continues on Aug. 4 at 7:30 p.m. and on Aug. 5 at 1:30 and 7:30 p.m. Visit udpac.org for tickets.