Cappies Review: 'The Hunchback of Notre Dame' at Annandale High

ANNANDALE, VA—By Emma Shacochis of Oakton High School

"What makes a monster, and what makes a man?" is the riddle a young man poses to the audience, before transforming into the infamous bell-ringer of Paris's famed cathedral. As the audience ponders the question, a myriad of thoughtful performances and a gorgeous Gothic aesthetic unify in Annandale High School's "The Hunchback of Notre Dame" to create a complex, showstopping musical.

Based on Victor Hugo's classic novel, as well as the 1996 Disney animated film, "The Hunchback of Notre Dame" features book by Peter Parnell, music by Alan Menken, and lyrics by Stephen Schwartz. Originally premiering in Berlin in 1999, the acclaimed musical transferred to America with runs at La Jolla Playhouse in 2014 and the Paper Mill Playhouse in 2015.

Set in 15th century Paris, in the bell towers of Notre Dame Cathedral, deformed hunchback Quasimodo dwells in isolation while longing for the world outside. As he falls in love with the kind gypsy Esmeralda, a fellow outcast, Quasimodo struggles to be loyal to her while living in fear of his caretaker, extremist archdeacon Frollo.

As Quasimodo, Kyle Dalsimer gives a stunningly transformative and sensitive performance. Amid skillfully scrambling along the scaffolding of the bell tower, Dalsimer lends maturity to Quasimodo's struggles with morality and loyalty. Dalsimer blends an affected accent and hobbling posture with a tenor as one of Notre Dame's bells, radiating hope in "Heaven's Light" and struggling with desperation in "Made of Stone".

One of the most chilling aspects of the musical is the emotionally abusive relationship between Quasimodo and his uncle, Dom Claude Frollo (John Lopez). Lopez, as the pious and prejudiced priest, lends his booming, malevolent voice to the vocal highlight, "Hellfire".

From her stunning entrance in "Rhythm of the Tambourine", Holly Ramia shines as the beguiling gypsy Esmeralda. Ramia endearingly unites the defiance and tenderness of her character, as she radiates wonder and awe when entering Notre Dame for the first time and gazing over the streets of Paris. Ramia lends a lovely, longing voice to "God Help the Outcasts", showing the selflessness of her character while illuminated by stained glass.

Additionally, Hidaya Hussen's Clopin, the Queen of the Gypsies, is sharp and sly, excellently hitting her low notes while skulking through the alleys of Paris.

The various ensembles, whether omnipresent or ominous, were essential for brining the scenes and songs to life. The harmonies of the large church choir added greater eeriness to "Olim"; the quartet of Congregants, serving as narrators, were concurrent collaborators; Clopin's band of gypsies never faltered in energy while executing rapid choreography in pubs and the town square; and Quasimodo's dynamic group of gargoyle friends were anything but stoic in their enthusiastic support for him.

The stationary set (Cort Hollis, et al.), inspired by Gothic architecture, aided in showing the heavy religious influence of the time, including spacious choir-stalls, a checker-patterned floor, and an exquisite stained glass window. The multitude of concealed ladders and stairs were especially effective for the many entrances to the bell tower.

The special effects (Long Nguyen) provided Esmeralda's "gypsy magic" through a geyser of smoke that allowed quick and dramatic exits, as well as a threatening, smoldering pyre used in a climactic, attempted execution.

The Circle of Fifths Orchestra performed the intense score brilliantly, elevating the haunting melodies while never overpowering the company.

Annandale High School's masterful production of "The Hunchback of Notre Dame", featuring rich vocal performances and enthralling technical design, is as powerful and commanding as the instruments Quasimodo rings.

From left to right: Jack Dalrymple, Holly Ramia, Lena Iglesias, Lizzie Pairel, image by Joshua McCreary