Review: Ringing The Bells With THE HUNCHBACK OF NOTRE DAME at The Henegar Center

It's a safe bet that just about any 90's kid can remember re-watching Disney's Hunchback of ­Notre Dame over and over, rewinding the VHS until it was nearly worn out. We were all scared of Frollo, wept for Quasimodo, and wanted to have popularity and a cool sidekick like Esmerelda. In the Henegar Center's stage re-imagining of Disney's beloved tale and Victor Hugo's classic novel, there are no friendly goat sidekicks, but a plethora of that nostalgic music and imagery remains.

The Hunchback of Notre Dame, for those unaware, involves a cast four main characters: of bell-ringer Quasimodo, a hunchback who lives in Notre Dame, Archdeacon Claude Frollo, an obsessive man who struggles with his simultaneous desire for piousness and Esmerelda, Captain Phoebus, a man of the King's army whom longs for Esmerelda, and Esmerelda herself, a beautiful gypsy woman renowned for her dancing. Reintroduced in this musical is the character of Jehan, Frollo's younger brother and father of Quasimodo, which adds a real depth to the struggle and development of Frollo's character.

The Henegar Center's production is one of the largest local productions I have seen in some time, with a full choir present on stage at all times, tucked cleverly into church pews inside Notre Dame. The combination of Menken and Schwartz makes for a powerful musical score, and "The Bells of Notre Dame", in all its reprises, is beautifully performed by the full cast. As individual vocalists, Damon Dennin's Frollo is a true standout, and his character work develops throughout the performance in such a way that you are almost rooting for the villain- A worthy achievement for any actor, I think! Dillon Giles' performance as Quasimodo is instantly likable, and the sweet nature of the character shines in "Top of the World". This duet with Esmerelda was my favorite moment for both performers, and if the happy sighs all around me were any indication, my fellow audience members felt the same way. Praise is also due for an enthusiastic ensemble, skillfully recycled throughout the show to become a gaggle of gypsies, gargoyles, or churchgoers, as needed.

Despite admirable efforts from its cast (and efficient staging by Hank Rion, with choreography by Kim Cole), the true shining features of this production are its technical work. From the time I entered the theatre until the houselights came up after bows, David McQuillen Robertson's scenic design commanded attention. The positioning and sizing of the bells, the impressive presence of the Notre Dame staiNed Glass, and the usefulness of his tiered set are inspired. Directly tied to the set's success is the lighting work done by Joshua Huss. Huss seems to have taken literally the importance of Heaven's light, with beams of white light and moody purples filtered through the haze on stage. Even if you're not a fan of technical theatre, it's honestly worth the price of a ticket just to get an up-close look at the visuals of this beautiful show.

This upcoming March 24th-26th presents a final chance to check out the Henegar's Production of Hunchback, playing at 8pm both days with a final matinee at 2pm on Sunday. For tickets, head to www.henegar.org or call the box office at 321-723-8698. Single tickets begin at $26 for adults, and $23 for seniors and military. Photos by Malcolm Denemark/Florida Today.

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