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The program for Theatre Raleigh’s The Hunchback of Notre Dame, onstage through August 15th, proclaims that one of the theatre’s missions is to “make theatre in unexpected places.” By staging this mesmerizing story at Downtown Raleigh’s Vintage Church, housed inside a gorgeous Gothic Revival and Romanesque structure built between 1879 and 1881, Theatre Raleigh has certainly accomplished this goal. The church, with its beautiful stained glass, sweeping balcony, and classic feel, makes the ideal immersive setting for this masterful musical.

The musical is based on both Victor Hugo’s 1831 novel and the songs from the 1996 Disney movie—songs that have always felt more haunting and richly nuanced than one might expect from a movie geared toward children. Now combined with Peter Parnell’s darker book, Alan Menken’s music and Stephen Schwartz’s lyrics truly shine. Their contemplative musings on religion, humanity, and true monstrosity are accompanied by a more austere mood that doesn’t shy away from the original novel’s themes.

Theatre Raleigh’s chosen setting, as shadowy as it is beautiful, reemphasizes the story’s stark nature and gently blurs the boundaries of past and present. Onstage, it’s 1482, and in the audience, it’s both the present day and the 19th century, creating a delirious fog where time period matters less than the unchanging nature of humanity.

David McQuillen Robertson’s scenic design further enhances this clever element. His Notre Dame is replete with winding staircases and hidden corners where secrets lurk. Viewers can gaze from their own balcony to the one onstage and can stare into the eyes of a devout choir, made up of forty-five members of the NC Master Chorale, as it sings its solemn, soaring songs.

With such ambiance, the story comes effortlessly to life. The conflicted Claude Frollo (Graham Rowat) rapidly rises through the ranks at Notre Dame, ultimately becoming the archdeacon and the cruel caretaker to the title character, Quasimodo (Julian R. Decker). While their lives are not joyful—Frollo is rigidly legalistic, and Quasimodo suffers great loneliness—they are predictable . . . at least until Esmeralda (Calli Brielle) comes along. After she shields Quasimodo from public cruelty at the Feast of Fools, she becomes the subject of everyone’s desire.

Quasimodo’s desire comes from a place of innocence, as evidenced by Decker’s brilliantly childlike and wonderfully endearing portrayal; conversely, the desire of Phoebus (Matt Shingledecker), the new head of the Cathedral Guard, is more romantic in nature. Both pale in comparison, however, to the fiery, lustful desire that consumes Frollo and drives him to spill his hatred for himself onto others. The story traces his vicious persecution of Esmeralda and the cascading consequences that reveal each character’s true nature.

The slowly unfolding story reveals some harsh truths about humanity, and yet, it’s so beautifully told. Shadows loom large on dark walls, and candlelit scenes lend a tender glow. The whole production, lovingly directed by Eric Woodall, whispers a reminder that good can exist in darkness.

The embracing, heart-thudding music, performed by live musicians, and the wise, prophetic lyrics echo this theme throughout. Brielle’s soul-piercing delivery of “God Help the Outcasts” and Decker’s painfully vulnerable rendering of “Made of Stone” are just two of many musical moments that get right to the heart of this hopeful-but-tragic tale.

And, just as beauty can exist in the harshest reality, moments of levity find their way into this production. Sai Graham adds sparkle as Clopin, the scheming, dancing gypsy king, and Eamon Foley’s choreography has a festive, expansive effect that turns the minimal stage space into a full-on street fair during the “Topsy-Turvy” numbers. Characters kick high and leap higher, brandishing colorful scarves with dizzying appeal. Costume designer Mark Sorensen also makes thoughtful use of color, placing Esmeralda in blazing reds that sharply contrast Quasimodo’s gentle green and Frollo’s dark drabbery.

While color aids in characterization, unforgettable performances from the cast and ensemble do the heavy lifting. Decker, who was a company member in the original production, is a sweet, sympathetic Quasimodo, with just the right touches of surprising humor and boyish charm. He shares a warm, affectionate chemistry with Brielle’s dazzling Esmeralda. With her dark hair, ringing voice, and brave ferocity, she embodies all that is lovable in the original cartoon, while adding an authentic emotional intensity. And, though he’s the villain, Rowat’s Frollo is more than just a sneering evildoer. He’s troubled, complex, and even manages to tip into sympathetic, providing the character and the production itself with a real literary quality. Similarly, Shingledecker’s Phoebus is flawed enough to feel human, and he plays the character with a mysterious and alluring air.

From the magic of the window reveal, which shines color across the church pews, to the bittersweet closing lines, Theatre Raleigh’s The Hunchback of Notre Dame is truly special. It offers more than just a performance. Its gift is an enveloping experience where, in the words of Eric Woodall, “the walls around you are part of the story.” It adds a new and unparalleled dimension that will elevate you from viewing to engaging.

The Hunchback of Notre Dame runs through August 15th, and limited tickets are available here.

-Susie Potter