Stage Review - The Hunchback of Notre Dame (Bainbridge Performing Arts)
Stage Review - The Hunchback of Notre Dame
Presented By: Bainbridge Performing Arts - Bainbridge Island, WA
Show Run: December 05 - December 21, 2025
Date Reviewed: Thursday, December 18, 2025
Run Time: 2 Hours, 30 Minutes (including a 15-minute intermission)
Reviewed By: Greg Heilman
The Hunchback of Notre Dame has been on my list since, well since I first heard Disney was making a stage version of its popular 1996 animated film. Victor Hugo’s story, first published in 1831, has endured as a cautionary tale about power, prejudice, and the danger of moral absolutism. While many audiences are most familiar, as I was, with the story through Disney’s film, the stage musical adaptation — featuring music by Alan Menken, lyrics by Stephen Schwartz, and a book by Peter Parnell — leans far closer to the author’s original novel. Darker in tone and more morally complex, the musical strips away much of the film’s comedic softening in favor of a story that interrogates religious hypocrisy, social exclusion, and the cost of fear disguised as righteousness. There are musicals that ask for scale, and then there is The Hunchback of Notre Dame, a work that demands scale not just in spectacle, but in voice, emotion, and moral gravity. Bainbridge Performing Arts’ production, directed by Adam Othman and running on the Buxton Center for the Performing Arts stage through December 21, embraces that challenge with confidence, delivering a visually striking and vocally ambitious production that understands the weight of the story it is telling.
As the show’s director, Adam establishes a Paris that is both reverent and foreboding, beginning with Erik Furuhiem’s scenic design, which grounds the audience immediately in the world of the story. The stage floor is painted to resemble the cobblestones of Paris, and the highly symmetrical layout evokes a sense of order, authority, and control. Two staircases rise on either side of the stage, leading to elevated platforms on which the show’s protagonist Quasimodo rings the bells of Notre Dame. These platforms are flanked by buttresses that resemble the skeletal framework of a guillotine — a subtle but chilling visual reminder of the Paris yet to come. Bells hang above the stage, and the set is rich with detail, allowing scenes to move fluidly through well-executed transitions. That sense of structure and ritual is reinforced by the ensemble, roughly twenty strong, whose entrances, exits, and movements are largely marked by crisp, synchronized movement. The city feels alive, not simply populated, with the ensemble functioning as a collective force capable of celebration, condemnation, and violence. Movement throughout the production is purposeful and precise, reinforcing the idea that Paris itself is an active participant in the story.
The visual world Adam and his team have created is further shaped by Rob Falk’s lighting design, particularly in the rendering of the cathedral’s rose window. Light spills through the stained glass and onto the stage floor in a wondrous effect that feels both sacred and theatrical. Rob’s lighting consistently guides focus and emotional tone, transforming the space from sanctuary to judgment hall as the story darkens. That visual storytelling is complemented by Kristin Bradberry’s costume design, which proves to be one of the production’s highlights. The variety and craftsmanship on display are exceptional, from the gargoyles — whose costumes resemble aged stonework — to the severe, imposing frocks worn by Frollo, to the richly textured and vibrant costumes of the gypsies. Quasimodo’s ragged wardrobe effectively underscores his isolation while still allowing freedom of movement. Kristina Maier’s mask design adds further theatricality to the gargoyles and statues, reinforcing the heightened, almost mythic tone of the production.
Musically, the scope of the piece is immediately apparent under Shawna Avinger’s music direction. The opening number, “The Bells of Notre Dame,” highlights the power, strength, and range of the ensemble, allowing the highest soprano and the lowest baritone to blend into a unified whole, supported by a superb live orchestra conducted by Shawna. Aside from a few minor microphone issues with individual performers, the balance between ensemble vocals, lead voices, and orchestra is strong and well managed, a balance which is managed by both Shawna and sound engineer Matt Hadlock.
At the center of the story is Quasimodo, and Dov Matthews delivers an excellent and deeply thoughtful performance in the role. This is Quasimodo’s show, and Dov fully inhabits the character with sensitivity and nuance. One of the most effective choices in his performance is the use of two distinct vocal qualities: one for Quasimodo’s interactions with the outside world, shaped by his disability, and another for his internal monologues, free of those constraints. Vocally, Dov is outstanding. His “Out There” is wonderfully sung, marked by impressive range and an ability to sustain long phrases while maintaining power and clarity. “Heaven’s Light” is another powerful moment, tender and resonant.
That gentleness is placed under constant pressure by Troy Wageman’s Dom Claude Frollo, for my money the standout performance of the production. Troy’s Frollo is defined by control — in posture, voice, and presence — which makes his unraveling all the more compelling. His rendition of “Hellfire” is undeniably the most memorable musical performance of the evening. With a booming baritone and palpable emotional conflict, Troy captures the pain, obsession, and hypocrisy at the heart of the character. Bathed in red light, with the illusion of flames rising behind him, the moment brings together performance, lighting, and staging in what is by far the most powerful moment seen on a stage this season, professional or otherwise.
Where Frollo represents condemnation, Catalina Jarocki’s Esmeralda offers compassion. Catalina delivers a strong and heartfelt performance, particularly in “God Save the Outcasts,” grounding the character in empathy rather than idealism. Her vocals blend beautifully with others later in the show, especially during “Top of the World”, or later in her duet with Richard Cubí’s Phoebus de Martin. As Phoebus, Richard provides a steady and appealing presence, offering clear vocals and grounded sincerity. Together with Catalina and Dov, Richard shares the reprise of “The Bells of Notre Dame,” uniting Esmeralda, Phoebus, Quasimodo, and the ensemble into a stirring musical culmination. “In a Place of Miracles” offers a welcome contrast, functioning as a sweet duet that leads naturally into that reprise.
Serving as narrator, provocateur, and guide, Seamus C. Smith is thoroughly entertaining as Clopin Trouillefou. Seamus excels as the emcee for the Feast of Fools and as the gateway personality to the gypsies, providing energy, clarity, and cohesion to the production’s more theatrical moments. His double-duty work as Fight Captain ensures that the show’s physical moments remain clear and well executed.
The movement throughout the production, choreographed by Molly Hall with Assistant Choreographer Laura McFarlane and Movement Coach Ken Michels, is particularly effective in how individual actions come together to create a single, moving organism. The ensemble number “Topsy Turvy” is a standout example, showcasing how distinct movement phrases and character-driven choreography coalesce into something dynamic and precise. Given the size of the ensemble, the level of coordination required — while still making the movement feel natural — is exceedingly impressive.
This production of The Hunchback of Notre Dame refuses to shy away from the story’s darkness, embracing its moral weight with conviction and care. This is not a softened fairy tale, but a challenging and emotionally charged work that asks audiences to confront uncomfortable truths about power, faith, and compassion. With powerful performances and design elements working in thoughtful harmony, this production stands as one of the most powerful — and emotionally resonant — musical experiences of the season, delivering moments of genuine beauty that linger long after the tones of the Notre Dame bells fade.
The Bainbridge Performing Arts production of The Hunchback of Notre Dame runs on stage through December 21. For more information, including ticket availability and sales, visit https://www.bainbridgeperformingarts.org/.
Photo credit: Adam Othman
