Black Sheep Theatre Productions’ Jack Fry as Quasimodo, left, and Dan Poppitt as the Voice of Quasimodo in The Hunchback Of Notre Dame, pictured at Selby Abbey
BLACK Sheep Theatre Productions will stage their biggest show yet when presenting The Hunchback Of Notre Dame from October 10 to 18.
Matthew Peter Clare’s “larger-than-life” production marks the York company’s return to the Joseph Rowntree Theatre for the first time since mounting the UK amateur premiere of William Finn and James Lapine’s Falsettos in August 2023.
Combining the forces of Alan Menken, Stephen Schwartz, Peter Parnell and Victor Hugo, ‘Hunchback’ features songs from Walt Disney’s 1996 animated gothic film with special arrangement from Music Theatre International. “We’re presenting the score in its entirety, as seen on Broadway,” says Matthew, whose cast comprises five leads, an ensemble of seven and a choir of 23.
“We have the songs from the film, such as Hellfire and Out There. However, Menken and Schwartz, have expanded on that on a quite incredible scale, usually bringing a darker tone that they really wanted to go for in the film and maybe were not allowed to. They’ve expanded on that theme incredibly well, making it a much more mature piece than the film.”
Jack Fry’s Quasimodo at Black Sheep Theatre Productions’ photoshoot at Selby Abbey
‘Hunchback’ addresses themes of love, acceptance and the nature of good and evil. “Our production revolves around the question of what makes a man and what makes a monster,” says Matthew. “That’s the framing device we’re using to ask both the audience and ourselves.”
In a cast where Matthew has his actors presenting the story, within which they then take on roles, Black Sheep regular Dan Poppitt will play the Voice of Quasimodo in tandem with Jack Fry’s physical embodiment of the bell-ringer of Notre Dame cathedral in 15th century Paris.
“There are parts we’ve taken from Victor Hugo’s 1831 book, such as whereas the Disney film has them all accepting Quasimodo, the implication in the book is that Quasimodo falls very deeply down a pit of despair,” he says.
“There’s a lyric in Someday that says, ‘some day life will be kinder, love will be blinder’, and that’s the key theme in a time when Quasimodo and her entire gypsy community were not accepted.”
Ayana Beatrice Poblete’s Esmerelda
Choreographer Charlie Clarke adds. “Unfortunately, it’s a timely motif for what’s going on now, where there is always this idea of being ‘other’ in this world.”
Quasimodo, the “hunchback” of the title, is best known for his deformity, but Black Sheep will be highlighting his other, arguably more significant impediment.
“The key idea we’re exploring is the fact that in the text and every iteration of Quasimodo, he has been at least partially deaf,” says Dan.
“Jack is a deaf actor who specialises in BSL (British Sign Language), so he performs Quasimodo’s dialogue through signs and I’m there as his interpreter, speaking his lines and singing his songs – and the only person on stage who acknowledges my presence is Jack’s Quasimodo.
“And I will say that Jack, as the embodiment of Quasimodo, puts every emotion that he can into the dialogue and songs.”
Matthew Peter Clare: Black Sheep Theatre Productions founder and The Hunchback Of Notre Dame director
Matthew says: “We’re making more of Quasimodo’s deafness, rather than his deformity, because deafness makes it harder for him to communicate. His deformity doesn’t stop him communicating, though it doesn’t help, as far as society around him is concerned, but the thing that hurts him and affects him is that he can’t communicate.”
Charlie adds: “Jack is such an incredible dancer too, and it’s so beautiful to watch him incorporating dancing into his BSL signing. It’s not just the words. He throws his entire body into it, so it’s like watching a contemporary dancer.”
Filipino-born Ayana Beatrice Poblete will play the other ‘outsider’, the gypsy – or more correctly French Roma – girl Esmerelda, and she reckons the production could not be better timed, given the heated debate on immigration bubbling over in British politics.
“It’s a good reminder to bring it back to the point that there will always be a ‘separation’ because people are always on edge as they haven’t been exposed to it for a long time, so they think everything is dangerous, but hopefully it will be seen in our show as curiosity,” she says.
“I’m really blessed to get the chance to sing God Help The Outsiders, not only in representing that community, but also because they are outcasts in society and so they feel imposter syndrome, and this is Esmerelda’s response.”
Black Sheep Theatre Productions cast member Jack Hooper, pictured at Selby Abbey
Matthew adds: “This might sound bleak, but I would argue that Esmerelda is the only one in the show who starts out hopeful and remains hopeful despite what happens. It’s a show with twists, and storylines are developed, but her hopefulness is the through-line of the story.”
Ayana rejoins: I actually thought at first, maybe Esmerelda is too positive, when everything is so toxic, but that positivity is not meant for her, but for passing on to others.”
Charlie says: “Esmerelda is the only one that Frolo [the Catholic clergyman and antagonist of Hugo’s tale] sees as anything comparable to a god, and maybe that is why he’s fearful as he thinks of her as an ethereal being, comparing her to an angel. That’s what scares him, whereas Quasimodo and Phoebus see the love that radiates from within her.
“The other factor that marks her out is that not only is she Romani but she is a woman too.”
Black Sheep Theatre Productions n The Hunchback Of Notre Dame, Joseph Rowntree Theatre, York, October 9 to 18. Performances: 7.30pm, October 10, 11 and 14 to 18; 2.30pm, October 11 and 18. Box office: 01904 501935 or josephrowntreetheatre.co.uk.
