The Hunchback of Notre Dame as presented by Ballinrobe MS

Ballinrobe Musical Society 

The Hunchback of Notre Dame 

Sunday 16th February 2025 

Upon entering the hall of Ballinrobe Community School, I was immediately struck by the set’s central, imposing representation of the famous stained glass rose window of Notre Dame Cathedral. Beautifully lit and slicing dramatically through the haze, it created a palpable sense of reverence as a full-house audience took their seats for the opening performance of Ballinrobe Musical Society’s musical version of Victor Hugo’s timeless tale, ‘The Hunchback of Notre Dame’. The musical aligns more with Hugo’s novel than the more child-friendly Disney classic. However, in the hands of a very skilled production team, a good balance was struck between the show’s lighter moments and its darker, more unsavoury elements. 

Enormous effort had gone into transforming the ‘foyer’ area into a welcoming theatre space with various displays, photographs, and flower arrangements. Front of house personnel were beautifully turned out in tuxedos, adding a touch of class to proceedings. Everything was highly efficient, running like a well-oiled machine, and it was clear that this wasn’t the team’s first rodeo. 

Alan Greaney’s direction was confident and thoughtful, from the opening procession of the wonderful choir to the superbly realised, dramatic release of ‘molten lead’ as the show built to its conclusion. There were seamless transitions between scenes and some beautifully staged and dramatic moments throughout. There was very good work on relationships between characters and careful handling of the more sensitive themes. Staging was very strong although there were sightline issues at times behind the kneeling gargoyle on the upper level/bell tower. Accents covered quite the geographical spread, with American, RP, Cockney and even an Irish brogue thrown in for good measure. A really strong piece of direction on a show that can sometimes fall between the stools of comedy and darkness. For me, the balance was very well struck. 

Shane Farrell did an excellent job as MD on what is a very challenging show musically. His fourteen-piece orchestra was a joy, exploring the considerable emotional depth of the show and always supporting the narrative, whether in the more sensitive or the highly dramatic moments. Choral work was simply wonderful. The choir, seated on pews throughout the show, added an additional layer of grandeur and scale to proceedings with their incredible sound. They provided a superb foundation, upon which the onstage cast continued to build a stunning wall of dramatic harmonies. Principal vocals were excellent and special mention must go to the beautifully sensitive underscoring throughout the show. 

Aoife McClafferty’s choreography was so appropriate to the style of show. Often drawing on traditional dance forms, her well-rehearsed routines were always enhancing the narrative. Whether the cast were throwing themselves into an exuberant folk dance or just moving subtly to a choral piece, everything was so precise and perfectly suited to the piece. ‘Topsy Turvy – Part 1’ was a fabulous routine full of energetic revelry and the ‘Tavern Song’ featured excellent, dynamic movement which was brilliantly performed by the ensemble. I loved the beautifully subtle movement of ‘In a Place of Miracles,’ performed with haunting solemnity by the ensemble before entering a very strong formation as the song built to the end.

‘Esmerelda’ was an excellent number, with strong and precise movement and the congregants’ movement in the Entr’acte was simple but entirely appropriate. 

Keith Hanley performance in the titular role tugged at the heartstrings in what was a beautifully realised interpretation. His Quasimodo was vulnerable and sympathetic, yet this was balanced with heartfelt angst as his childlike yearning to belong and to be loved overflowed into waves of powerful emotion. Mr. Hanley’s deformed physicality was remarkably consistent and his disfigured movement was so well-judged; always believable and never overly contrived. His singing was top tier, with his soaring upper register being most impressive. ‘Heaven’s Light’ was superbly sung and the powerful ‘Made of Stone’ was one of many vocal highlights. 

Sarah Corcoran delivered an enchanting performance as the free-spirited Esmerelda. She had wonderful presence and really inhabited the role in a most captivating manner. A very talented actress, she balanced grace and dignity with fierce strength and deep emotion. Her awe inspiring, seemingly effortless vocal was a delight. ‘Someday’ with Phoebus was beautifully sung, as was the emotionally charged ‘God Help the Outcasts,’ a powerful representation of Esmerelda’s deep sense of empathy and justice. A stunning performance. 

Niall Conway brought much gravitas to the role of the sinister and obsessive Claude Frollo, Archdeacon of Paris. His commanding presence and impressive emotional range added layers of intensity as he captured the character’s complexity in a most chilling performance. He was a formidable authoritarian, calculating and highly manipulative. His reporting of Esmerelda to the king, for practising witchcraft, sent shivers down my spine. Mr. Conway’s deeply resonant, baritone voice provided much colour during his many chilling and menacing moments. He had many musical highlights but his highly conflicted ‘Hellfire’ was simply stunning. 

Edward Scott was a dashing, charming Phoebus de Martin. Mr. Scott played the role with great passion. His romantic chemistry with Esmerelda was palpable and their scenes together were both tender and passionate. A very strong actor with wonderful presence, Mr. Scott sang so well too. ‘Someday,’ as he joined Esmerelda, was one of the vocal highlights of the show, with both voices blending musically and dramatically in a most moving performance. His defiance of Frollo in Act 2 was very well played, balancing the more romantic elements of his story with a steely strength of character. 

Enda Mulchrone, who played Jehan Frollo, Claude’s wayward brother and father of the abandoned Quasimodo, was a strong actor who showed impressive range. The strong bond between himself and his more pious brother was evident and there was a nice contrast between his rebellious nature and his instinctive desire to have Quasimodo cared for as his own health faded rapidly. 

The extremely talented Angela Staunton was simply wonderful as Clopin, the ‘Queen of the Gypsies’ bringing all of her talent and exceptional stagecraft into play, in creating a character that was playful and mysterious but with an underlying dark edge. Ms. Staunton had outstanding presence and physicality, commanding the stage with a very strong energy. She was vocally superb, at her very best in ‘The Court of Miracles’ and ‘Topsy Turvy (Part 1)’ which she drove with confidence and charisma. Her hauntingly delivered monologue at the end of the show, detailing the discovery of Quasimodo’s and Esmerelda’s skeletons, was so chilling. 

Aoife Kilcullen, Joff Manning, Siobhan Campbell and Eimear McGovern were an exceptionally strong quartet as the gargoyles; Quasimodo’s ‘friends’ and confidantes. These four actors were very thoughtful in their individualised characterisations as well as having keen comic timing, when required. They worked very well together and with Mr. Hanley. Expression and diction were superb across the board, as was the clarity of their narrative. They sang so well too, providing much support throughout the show. ‘Flight Into Egypt’ was particularly excellent. Their collective stillness, when required for long periods of time, was most impressive. Bravo all! Mr. Manning did very well when featured as St. Aphrodisius at the top of Act 2. My only minor observation was that I felt more could have been done with hair/makeup/costume to give these wonderful performers a more ‘stone-like’ appearance. 

Emma Loscher, Eimear Philbin, Catherine Conway, and Kate McDonnell worked very well together as the show’s narrators. Whether appearing as congregants or revellers, they delivered the important elements of the narrative in a very clear and expressive manner, singing very well both as individuals, and collectively, right through the show. My only concern was that they were occasionally lost when singing during choreographed sequences and, even though we could hear them clearly, their voices were occasionally appearing from ‘nowhere,’ taking away from the overall point of focus. 

Emma Daly was an excellent Madame. This was a small cameo but she brought everything to it. How good it was to have such a strong actress in this role. 

Lorna Dennehy was equally strong as Florika, with strong presence and a superb singing voice when reappearing in Act 2. Richard Crumlish and Tom Carney provided strong support as Father Dupin and King Louis XI respectively and Patrick Mulchrone and John Morley did well as Official and Lieutenant Frederic Charlus. 

The ensemble in this show was exceptionally strong. The choir members were remarkable in both their stillness between scenes and their superb singing. The onstage ensemble had incredible energy and focus. They were so well rehearsed and their performance levels were excellent. Background business was always meaningful. Everyone was a character in the story, whether in the sombre or more joyous moments. Harmonies and dynamics were top notch and choreography was performed with great precision. 

Stage manager Kenneth McCarthy did an excellent job in ensuring that the show moved slickly and with great finesse. This was a large set and the moving trucks were big and solid. But everything moved smoothly and was timed with military precision. I loved the hooded crew moving the door truck during ‘Out There’ with Quasimodo on top. It was brilliantly theatrical and it didn’t matter that they were seen. Confetti canons were a great touch, perfectly timed, as were the shots of smoke from beneath the stage to herald Clopin’s magical exits. A really impressive job! 

There was a great sense of grandeur about the multi-level set which was epic in its proportions and excellently finished. The design worked very well, with seating areas for the choir and the upper level on stage right serving as the bell tower, complete with bells and ropes. Trucked pieces were very solid and beautifully finished. Clever design ensured that multiple locations could be created by reversing trucks. The door piece looked great, with its hidden steps and fine scenic artistry. I loved how it became an extension of the bell tower, allowing for additional staging options. 

This wasn’t a prop heavy show but things were generally appropriate to the era. Candles, lanterns, tambourines with ribbons, the king’s sceptre, and Esmerelda’s distinctive necklace all looked well. Quasimodo’s teddy bear was not appropriate for the 1400s, however. 

Lighting was, quite literally, a game of two halves. A most unfortunate technical glitch, which was nobody’s fault, meant that lighting was hampered in the first act. However, once rectified, the lighting design and operation were simply stunning, creating beautifully atmospheric 

pictures, ranging from shadowy, foreboding states to brighter, more colourful ones. There was a great dramatic tension created in the Entr’acte as cast were backlit, creating mysterious silhouettes amid a palpable air of suspense. Combined with very good use of haze, the atmosphere created was quite stunning. Low fog and perfectly chosen colours added greatly to the visually stunning ‘In a Place of Miracles.’ The backlit ‘molten lead’ was highly dramatic, as were the red movers and LEDs in the finale. 

Sound was exceptionally good. Cueing was perfectly timed and levels were very well judged for orchestra, principals, ensemble, and choir. Dialogue was warm and clear at all times and it was so refreshing to be able to hear every word of underscored dialogue. Great support was given to soloists and there was superb balance in the ensemble vocals. Sound effects were appropriate, when used, especially the very atmospheric bells which added great authenticity to the story. 

There was a very good costume plot, which impressed greatly with its medieval authenticity. The hooded robes for the choir and congregants looked great and I liked the fact the different colours set them apart. The gypsies’ costumes were suitably colourful, flamboyant, and earthy, although they could be seen underneath the robes when the ensemble reverted back to being congregants. Frollo’s imposing robes reflected his superior status. The only small point that I would make is that I felt that the gargoyles’ costumes were a missed opportunity to be a bit more creative. 

Hair and makeup were generally appropriate, although, again, I thought that the gargoyles could have benefited from some more creativity. 

This was a superbly staged production by Ballinrobe Musical Society. There were standout performances, an impressive set, excellent stage management and the most stunning choral performance, which drew on many members, past and present. It was a true community effort on a massive scale. The society has a deep and rich history over fifty-one years. I have no doubt that the next half century will bring as much enjoyment to the community as ‘The Hunchback of Notre Dame’ clearly did. 

Pat McElwain 

Gilbert Adjudicator 2024/2025

Images by White Thorn Media