With ‘Hunchback,’ Near West Theatre pushes the limits | Theater review

“This show tests the very limit of our capacity,” explained Bob Navis Jr., Near West Theatre’s artistic director and director of “The Hunchback of Notre Dame,” before the production began.

A few minutes later, the truth in his statement became glaringly obvious as dozens of robed actors filed onto the stage in front of a massive church setting, executing complex choral singing and pushing the community theater’s ability to overwhelm and astonish.

But overwhelm and astonish it did.

Based on the 1831 novel by Victor Hugo, the musical was written by Peter Parnell, with much of the music by Alan Menken and lyrics by Stephen Schwartz appearing in the 1996 animated film produced by Walt Disney Pictures.

The show features the hunchback Quasimodo (Pat Miller), who was raised by his uncle, Dom Claude Frollo (John Webb), and confined to the bell towers of Notre Dame Cathedral. Emerging on a day of celebration, Quasimodo becomes enchanted with a friendly Gypsy girl, Esmeralda (Julie Penzvalto), who was dancing in the streets. The new cathedral soldier, Captain Phoebus (Robert Kowalewski), and Frollo also are enraptured with the girl, but Quasimodo and Phoebus will give their lives to protect her.

Miller’s deformed Quasimodo is sweet and thoroughly likable. He employs a faint voice and stutter fit the character’s sense of inferiority, but when Miller sings, all trepidation disappears, and his vocal prowess is revealed and fills the theater.

Penzvalto is a feisty and independent Esmeralda. Her voice is rich and practically potent, qualities that are well represented in her song “God Help the Outcasts.” She performs beautifully with Kowalewski’s Phoebus, particularly in the duets “Someday” and “In a Place of Miracles,” and the two are quite charismatic together.

Webb, who embodies Frollo’s stern and commanding demeanor, was born for the role. His voice is magnificent, especially during the songs “Sanctuary” and the dramatic “Hellfire.”

Kelcie Nicole Dugger is just as impressive as the lead Gypsy, Clopin Trouillefou, who acts as a show’s narrator. In a role usually played by a man, Dugger’s charismatic stage presence and strong conviction is as brilliant as her voice. One could listen to her sing “The Bells of Notre Dame” all night long.

Cameron Michalak’s scenic design not only “tests the very limit” of community theater productions, as director Navis suggested, but is remarkably versatile and professional. With the help of adept stage hands and video projections by Perren Hedderson, the stage magically transitions from Quasimodo’s bell tower to the stained glass ornamented cathedral to the streets of Paris and other settings. All this is complemented by Loren “Coco” Mayer’s costume design.

“Hunchback” requires a large cast to play supporting religious figures, gypsies and citizens of Paris. However, Near West Theatre’s 44 member ensemble proves to be a bit too large.

Josh Landis’ entertaining choreography, particularly during the Feast of Fools scene, is compromised as cast members bump into and struggle to maneuver around each other on the stage. When the ensemble is called upon to add background chatter to the main action, its volume creates a distracting buzz that makes it difficult to focus on the one or two featured actors and the important business they need to relay. The strength of their voices often competes for supremacy with the skilled seven-piece orchestra under the direction of Matthew Dolan.

Despite the overcrowding on the Near West’s stage, there is no shortage of talent on and behind it. This production of “The Hunchback of Notre Dame” is outstanding.

This review is supported by a Cleveland State University civic engagement grant.

‘The Hunchback of Notre Dame’

Continues through May 20 at Near West Theatre, 6702 Detroit Ave., Cleveland. For tickets, $8 to $25, call 216-961-6391 or visit nearwesttheatre.org.

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