Review: The real monstrosity about this version of the Hunchback – that it wasn’t a sell out!

As a huge fan of the 1996 Disney film, with its vibrant colours and incredible soundtrack, I was excited about The Hunchback of Notre Dame at the New Theatre Royal.
Benchmark Theatre in rehearsal for The Hunchback of Notre Dame, at The New Theatre Royal from April 5-8Benchmark Theatre in rehearsal for The Hunchback of Notre Dame, at The New Theatre Royal from April 5-8
Benchmark Theatre in rehearsal for The Hunchback of Notre Dame, at The New Theatre Royal from April 5-8

It was my first experience of Benchmark Musical Theatre. The benchmark is ‘a standard or point of reference against which things may be compared’. If this is the case, other production companies, professional or otherwise, have got their work cut out.

The stunning set, paired with perfect lighting, is incredibly effective, but my breath was truly taken away when the choir began to sing. Up in the boxes, either side of the stage, their opening haunting melodies made it clear we were in for a treat from the opening bars.

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Originally a Victor Hugo novel, the story follows Quasimodo, the hunchbacked bell-ringer of Notre Dame and his desire to fit in amongst the outside world.

Ben Horner shines as the titular character. He may be the monster, but his performance was nothing short of beautiful. Out There and Made of Stone were gorgeous.

Ruari Metcalfe is the real villain of the piece and he certainly plays the part. His rendition of Hellfire is brilliant. Meanwhile, Adam Fox delights as Phoebus. With great vocals, stage presence in abundance and a dashing smile, he’s perfectly cast as the captain.

Bee Anderson sure knows how to command a stage. As Esmerelda, the gypsy girl and object of the men’s affection, she makes an excellent leading lady. Elsewhere, Matt Gibbins also impressed as Clopin.

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The ensemble does a fantastic job – I particularly enjoyed them as talking, singing statues. Coupled with the choir, the sound this cast makes is amongst the best I’ve heard.

Sadly, sound was the only downfall of the show. Particularly in the first half, microphones were late coming on and, at times, the (excellent) orchestra drowned out some of the singing. Rest assured, this will no doubt be addressed for the rest of the run.

Nick Williams is certainly making a name for himself as a director in local theatre. Combining with Louise Helyer (Musical Director) and Helen Stoddart (Choreographer), this is a trio of triumph.

The real monstrosity is that this wasn’t a sell-out. It should be.

If you’ve got the opportunity to go this week, say you’ll be there, with bells on.

Until Saturday.

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