Review: The Hunchback of Notre Dame - Gorey Musical Society

Gorey Musical Society

The Hunchback of Notre Dame

Adjudicator date of attendance: 02/04/2026

Gorey Musical Society took on the hugely ambitious The Hunchback of Notre Dame with confidence, imagination, and an impressive understanding of the emotional depth required to make the piece work. It is a musical that demands enormous vocal power, strong visual storytelling, and an ability to balance darkness with moments of genuine warmth and humanity. This production succeeded in doing exactly that, delivering an evening that was musically thrilling, visually striking, and emotionally engaging throughout.

Under Megan Lopez’s direction, the show maintained a strong sense of flow and momentum from beginning to end. The storytelling was consistently clear, even during the larger ensemble scenes, and the integration of the storytellers into the action worked especially well. Their movement in and out of scenes felt seamless, adding continuity and helping the narrative move naturally from one moment to the next. The overall visual identity of the production was cohesive and thoughtful, with a strong understanding of the gothic atmosphere at the heart of the piece. The use of the statues and gargoyles as part of the storytelling framework was particularly effective. Having them preset within the arches as the audience entered immediately established the world of the cathedral and created a wonderful moment of surprise when they later came to life. Lopez handled tonal shifts with confidence, allowing the darker moments of the story to land while still leaving space for tenderness and emotional connection. The final image of Quasimodo’s parents returning as spirits to welcome him at the end of the show was especially moving and provided a beautiful sense of full-circle closure. There were a few areas where the storytelling could have been pushed even further. The physical violence between Frollo and Esmeralda somewhat lacked the intensity needed to fully justify the emotional reaction that followed, and some additional use of the upper levels during larger crowd scenes may have added greater visual depth. Similarly, while the decision to largely retain Irish accents throughout the production was an interesting choice, the contrast with Frollo’s more traditionally “villainous” English accent sometimes felt stylistically inconsistent.

Musically, however, this was an outstanding production. Conor McCarthy’s musical direction was exceptional and formed the backbone of the evening. From the opening moments, the orchestra created a rich and ethereal soundscape that perfectly suited the grandeur of the score. The balance between pit and performers was superb throughout, particularly impressive given the size of the orchestra. Individual instrumental lines remained crystal clear, while vocal harmonies were never lost beneath the orchestration. The chorus and choir work was especially breathtaking. Harmonies were precise and beautifully controlled, with the dissonant sections delivered confidently and cleanly. The closing moments of the opening number were genuinely thrilling, filling the auditorium with a sound that felt almost physical in its impact. The ensemble singing throughout the evening was consistently powerful, and the discipline of the choir was remarkable considering many performers were positioned upstage or behind principal action for large sections of the show. Transitions between dialogue and music were also handled beautifully, with underscoring flowing naturally into songs and maintaining emotional momentum throughout. Principal vocals were consistently strong, although diction occasionally became unclear in some of the larger or more intense vocal passages. Nonetheless, the overall musical standard of the production was extremely high.

Megan Lopez’s choreography complemented the production very effectively. Rather than attempting movement beyond the cast’s abilities, the choreography embraced their strengths and created visually engaging moments that always served the storytelling. The armography throughout the show was particularly effective, creating strong stage pictures and adding fluidity to ensemble scenes. The use of scarves during “Topsy Turvy” worked especially well, bringing colour, movement, and texture to the stage, while the circular formations suited the period aesthetic beautifully. Importantly, everyone on stage always appeared involved and connected to the action, creating a strong sense of ensemble cohesion.

Andrew O’Grady delivered a warm and emotionally sincere performance as Quasimodo. One of the strongest elements of his portrayal was the distinction he created between Quasimodo’s inner world and the way he presented himself to the outside world. His scenes with the gargoyles felt freer and more natural, while his physicality shifted during interactions with the citizens of Paris. There was perhaps room to explore the physical contrast between those two states even further, but the emotional honesty of the performance ensured the audience remained deeply invested in him throughout. Vocally, he sang with apparent ease and genuine emotional connection, particularly in his scenes with Esmeralda, which carried real warmth and tenderness.

Margaret Masterson gave a commanding and confident performance as Esmeralda. She brought enormous strength and determination to the role, creating a character who was proud, defensive, and fiercely independent. Vocally, the role sat very comfortably within her range, and she handled the demanding score with confidence and control. At times, it would have been interesting to see a little more vulnerability emerge within quieter moments, particularly in her relationship with Quasimodo, as occasionally the intensity remained level throughout. However, this was still a committed and engaging portrayal.

Rónán P. Byrne delivered one of the standout performances of the evening as Frollo. He captured the character’s duality exceptionally well, balancing outward piety and authority with the inner torment and obsession consuming him beneath the surface. His transition from younger to older Frollo was subtle and believable, achieved through carefully judged changes in both physicality and vocal tone. Vocally, he possessed a rich and mature sound that suited the role beautifully, and “Hellfire” became one of the undeniable highlights of the production. The number was dramatically gripping and vocally commanding, elevated further by striking technical elements including the projection of a stained-glass window shattering gradually throughout the scene, mirroring Frollo’s psychological collapse.

Richard O’Toole brought warmth and complexity to Phoebus, successfully balancing the character’s swagger and confidence with glimpses of the emotional trauma beneath the surface. His first entrance hinted briefly at the scars left by war and immediately gave the character greater depth. His growing love for Esmeralda and gradual questioning of his own belief system were communicated clearly throughout the performance. Vocally, he blended particularly well with Esmerelda during their shared material.

Among the supporting cast, Tommy Cox brought strong energy and fluid physicality to Clopin, with a movement style that suited the role beautifully. At times he slightly anticipated reactions physically before delivering lines, but overall, he remained an engaging and charismatic presence. Brian Cooney and Megan Mitten both gave convincing performances as Jehan Frollo and Florika respectively, with Jehan’s death scene proving particularly realistic. Justin Grimes integrated seamlessly into the statue ensemble as Saint Aphrodisius, while Rónán Ó Dubhghaill and Maria Forrest contributed strongly in their featured ensemble roles.

The gargoyles and statues were a major strength of the production. John Donohoe, Becky Sillery Murphy, Paul Kehoe, and Shauna Crooke worked exceptionally well as a group, maintaining strong ensemble chemistry while still allowing individual personalities to emerge. Their physicality and facial expressions remained clear and expressive despite the extensive makeup, and vocally they blended beautifully together. The storytellers also played a crucial role in maintaining the momentum of the production. Thomas Rush, April Kelly, Niamh Flemming, Melissa Larkin, Caoimhe Boyle, and Ciara Herron brought excellent energy and clarity to the narrative, moving fluidly in and out of scenes and helping sustain the pace of the show throughout.

The ensemble as a whole was outstanding. Vocally, the chorus produced a rich and powerful sound that repeatedly raised goosebumps, adding enormous emotional weight to many of the production’s biggest moments. Beyond the singing, the ensemble remained consistently engaged and invested in the storytelling, with every performer appearing fully committed to the world of the piece.

Visually, the production was equally strong. The set design created an effective framework for the storytelling, with the lighter stone-inspired palette beautifully reflecting the architecture and atmosphere of the cathedral. The asymmetrical staging, featuring a staircase on only one side, added visual interest and prevented stage pictures from feeling static. Additional moving set pieces helped transitions flow smoothly, while the projection work during “Hellfire” added another memorable visual layer to the production.

Lighting throughout the show was particularly effective, especially in creating the interior world of the cathedral. The sense of scale and gothic atmosphere was beautifully achieved through careful use of focus, shadow, and colour. The lighting palette complemented the production’s visual identity very well, balancing warmth with darker dramatic moments.

Costumes, hair, and makeup were all of a very high standard. The vibrant gypsy costumes contrasted beautifully against the more muted cathedral tones, while the gargoyle makeup, particularly the green patina detailing on the faces and headpieces, looked excellent. Hair and makeup were consistently period appropriate, with only one small oversight where one gargoyle’s hands had not been painted to match the rest of the design.

Front of House operations were warm, welcoming, and efficiently managed. Audience members were greeted professionally and seated smoothly, helping to create a positive atmosphere before the performance began. There was a genuine sense of excitement in the auditorium, and the company should be commended for maintaining such a polished audience experience throughout the evening.

Overall, Gorey Musical Society delivered a richly atmospheric and emotionally compelling production of The Hunchback of Notre Dame. With stunning musical direction, strong ensemble storytelling, imaginative visuals, and several standout performances, this was a production full of ambition, heart, and theatrical flair that left a lasting impression.