Review: The Hunchback of Notre Dame at Prince Edward Theatre
⭐⭐⭐⭐ (Four Stars)
For the first time in the West End, The Hunchback of Notre Dame has been staged in concert at the Prince Edward Theatre, and what a thrilling performance it proved to be. Adapted from the 1996 Disney animated movie, with Alan Menken’s sweeping score and Stephen Schwartz’s evocative lyrics, this concert demonstrated just how powerful the musical can be when given full orchestral and choral force. Under the musical direction of Alan Williams, the onstage orchestra and 20-person choir filled the theatre with spine-tingling, goosebump-inducing sound.
The all-star cast boasted some of the finest voices in the West End. Ben Joyce brought Quasimodo to life with remarkable vocal clarity, Zachary James commanded the stage as Frollo, and Christine Allado gave Esmeralda warmth and power. Together, they showcased why this score remains one of Disney’s most impressive achievements.
Concert stagings can often feel technically rough around the edges, but this production was comparatively polished. Jamie Platt’s lighting was atmospheric, complementing the grandeur of the music, and only a handful of sound cues went astray. The playing space itself was necessarily limited, with only a third of the stage available to the actors due to the orchestra and choir, but Jonathan O’Boyle’s direction made strong use of four simple wooden benches to evoke the cathedral setting. Mark Smith’s choreography added energy and detail to the ensemble numbers, giving the performance a theatricality that exceeded expectations for a concert.
One of the production’s most discussed creative choices concerned the portrayal of Quasimodo, the disabled titular character. Rather than prosthetics, Joyce used physical adjustments and layered capes to suggest the character’s disability, while dancer Oliver Hewing was introduced as a second performer embodying Quasimodo’s inner life through expressive movement. Hewing also incorporated British Sign Language into his choreography, adding an extra layer of meaning. At its best, most memorably in the musical number Out There, this dual performance was deeply affecting, Hewing’s blend of dance and sign amplifying the emotion of Joyce’s vocals. However, the device was not always executed with clarity. At times - particularly in scenes where Joyce and Hewing either interacted with each other or with other characters simultaneously or where they appeared separately in different areas of the stage - it was unclear that both performers were playing the same character. Some audience members around me were audibly confused at the interval. More unified staging choices could have strengthened the concept here.
Despite that, this concert achieved what it set out to do: it placed the spotlight on Menken’s extraordinary score, delivered by some of the finest theatrical talent London has to offer. While not a fully staged production, it succeeded in capturing the grandeur, emotion, and timeless storytelling of Victor Hugo’s tale in a spine-tingling celebration of music.
The Hunchback of Notre Dame is performing at Prince Edward Theatre on 17th and 24th August 2025.
