Review: The Hunchback of Notre Dame - Thurles Musical Society

Society name: Thurles Musical Society 

Show name: The Hunchback of Notre Dame 

Adjudicator date of attendance: 27/03/2026 

Thurles Musical Society took on the hugely ambitious challenge of The Hunchback of Notre Dame with clear passion, commitment, and artistic ambition. This is a production that demands an enormous amount from every department involved. The score is vocally relentless, the themes are dark and emotionally layered, and the staging requirements are substantial. What emerged was a visually striking and emotionally sincere production that demonstrated the society’s willingness to challenge itself artistically and embrace the scale of this epic musical. 

Director Michael Anthony Greene approached the material with a strong visual imagination and a clear understanding of the darker psychological themes running through the piece. One of the most effective creative choices was the use of the congregants as both townspeople and manifestations of Frollo’s inner turmoil. This device added a haunting quality to many scenes and gave the ensemble an important dramatic function beyond simply filling the stage. Their presence often heightened the tension, particularly during moments of moral conflict and internal struggle. 

The visual storytelling throughout the production was often very effective. The moving balustrades created fluid scene transitions while maintaining the imposing architectural atmosphere so central to the world of Notre Dame. The production moved at a strong pace overall, and there was a clear effort to maintain narrative momentum throughout. Some moments of physical confrontation and violence could perhaps have carried more weight and intensity to fully realise the danger within those scenes, but the ambition behind the staging was evident throughout. 

The opening of the show established the scale and solemnity of the production, and as the evening progressed the storytelling settled into a stronger rhythm. There were several moments of imaginative staging and stylised theatricality that added to the gothic tone of the piece. A particularly effective directorial choice was the use of sign language within Quasimodo’s characterisation. It added a lovely sense of vulnerability and authenticity to the role, while also deepening the audience’s emotional connection to the character and highlighting his isolation beautifully. Accent work varied across the cast, with occasional hints of Irish accents emerging, but the emotional commitment of the performers ensured that the story remained engaging and easy to follow throughout. 

Musically, the production tackled an exceptionally difficult score with determination and care. Under the direction of Mary Rose McNally, the orchestra created a rich and atmospheric sound that supported the emotional landscape of the piece very effectively. The darker orchestral textures were especially successful, giving many scenes a real sense of grandeur and emotional weight. Tempos were well judged throughout, helping the show maintain energy and dramatic drive. 

The chorus worked extremely hard on challenging musical material, and while some of the intricate harmonies were occasionally lost in the sound balance, the musical effort and commitment from the company were obvious. Diction and phrasing were generally strong, allowing the storytelling within the music to come through clearly. The entrances and cut-offs could perhaps tighten further by watching the conductor, but the overall musical achievement in such a demanding score was commendable. 

Michael Anthony Greene’s choreography and movement direction contributed significantly to the visual language of the production. The movement work for the congregants was particularly effective, with fluid and sinuous physicality that reinforced the darker themes of the show. The ensemble moved with focus and cohesion, creating striking stage pictures throughout the evening. The gypsy choreography provided a nice contrast to the rigidity of the cathedral scenes, though these sequences could potentially have embraced even more freedom and spontaneity to heighten their impact further. 

At the centre of the production was an excellent performance from Mark O’Gorman as Quasimodo. He delivered a deeply moving and beautifully detailed portrayal that completely anchored the emotional heart of the show. His characterisation was filled with warmth, innocence, and vulnerability, making the audience invest immediately in Quasimodo’s journey. His physicality and facial expressions were wonderfully judged, often communicating enormous emotional depth in moments of stillness. His use of sign language added a lovely layer to the character. Vocally, he was very strong. The role is one of the most demanding in musical theatre, requiring both immense power and emotional sensitivity, and Mark handled it superbly. His high notes were secure and expressive, and despite the vocal and physical affectations of the character, his diction remained impressively clear throughout. It was a performance filled with sincerity and humanity and unquestionably one of the highlights of the evening. 

John Scott brought a strong vocal authority to the role of Dom Claude Frollo. His voice carried genuine gravitas, particularly in the darker and more introspective musical moments. His interpretation leaned more heavily into the conflicted and tortured side of the character, creating a more restrained portrayal rather than an overtly threatening one. There were moments where a greater sense of menace and physical danger could perhaps have strengthened the character’s impact, particularly in scenes involving Esmeralda, but his commitment to the emotional complexity of the role was evident throughout. 

Orla Purcell gave a warm and engaging performance as Esmeralda. She captured the character’s defiance, spirit, and compassion very effectively, balancing strength with moments of tenderness and vulnerability. Her interactions with Quasimodo were particularly heartfelt, and vocally she handled the score beautifully, bringing clarity and emotion to her musical numbers. She created a spirited and likeable portrayal that grounded many of the show’s emotional moments. 

Kevin Bracken approached the role of Phoebus with sincerity and consistency. He brought a calm and dependable presence to the production and communicated the character’s nobility and compassion clearly. Vocally, he handled the role capably, though there is perhaps scope to further deepen the emotional chemistry within some of the relationships as the role develops further. 

Among the supporting cast, Brendan Bailey stood out strongly as Clopin, bringing excellent energy, confidence, and charisma to the role. He established himself immediately as a commanding leader of the gypsies and delivered a strong vocal performance filled with personality. Danielle Martin brought confidence and attitude to Florika and also contributed strongly to the ensemble scenes throughout the show. Frank Tuohy sang well as Jehan Frollo and handled his scenes with sincerity and clarity. 

The ensemble worked tirelessly throughout the production and contributed well to the atmosphere and visual richness of the show. There was strong commitment and energy from the cast throughout the evening, and several featured ensembles stood out nicely. Musically, they tackled the complex score admirably, while their movement work, particularly as the congregants, added significantly to the overall visual identity of the production. 

The set design was one of the production’s greatest strengths. The cathedral-inspired structures and timber detailing created a wonderfully atmospheric playing space that immediately established the world of the show. The suspended bells above the orchestra pit were especially effective and added greatly to the scale and visual impact of the production. The ability for Quasimodo to climb and perch on the structures enhanced both the practicality and theatricality of the staging. The rolling balustrades and boxes were simple but highly effective scenic devices that kept the production moving fluidly. 

Lighting also played a major role in creating the production’s striking visual identity. Several stage pictures were genuinely beautiful, with strong contrasts between light and shadow helping to reinforce the gothic atmosphere of the piece. The distinction between upstage and downstage areas was handled particularly well, creating a cinematic quality in many scenes. Some cues could have been sharper in moments requiring precise timing, but the overall visual effect was extremely strong. 

The sound design supported the scale and ambition of the production effectively overall. At times, however, the balance between orchestra and vocals could have been refined further, as some principal vocal moments and sustained notes were occasionally overshadowed by the band. Similarly, within ensemble numbers, the lower harmonies often dominated while the soprano lines carrying much of the melodic content were more difficult to distinguish. There were also a few moments where cues came slightly late or lines were clipped, though these are the kinds of refinements that often settle as a run progresses. 

Visually, the production created a rich and engaging world on stage. The congregant costumes were particularly effective, helping to establish a cohesive gothic aesthetic, while the gypsy costumes added welcome colour and vibrancy. The gargoyle costumes felt less successful stylistically, with softer textures and fur details making them appear more creature-like than stone-like, which somewhat conflicted with the imagery usually associated with those characters. The wigs similarly lacked some of the sharper structure needed to fully achieve the intended effect. Hair and makeup overall worked well for the style of the piece, though the gargoyles in particular would have benefited from more contouring and texture detailing under the stage lighting. 

From the moment the audience entered the venue, there was a warm and welcoming atmosphere. Front of House operations were efficient and well organised, helping to create a real sense of occasion before the performance even began. The audience was seated smoothly, and there was a palpable sense of excitement and anticipation in the auditorium. 

Overall, this was an ambitious and visually impressive production that demonstrated enormous dedication from everyone involved.

Thurles Musical Society embraced the scale and complexity of The Hunchback of Notre Dame with passion, sincerity, and artistic courage. While there are naturally areas that could continue to develop and refine further, particularly in terms of technical balance and consistency, the production succeeded in creating many memorable theatrical moments. Most importantly, it told this emotionally demanding story with genuine heart and commitment, leaving the audience with an evening that was both visually striking and emotionally engaging.