Calling all StageSiders, welcome back to another review here at StageSideUK. This time around, we are talking about a production of The Hunchback of Notre Dame in Concert at Prince Edward Theatre, London seen on Sunday 17th August, 2025!
It’s probably worth saying, I went in to this having never read the book, and not remembering a single thing from the movie. I grew up not really liking animated films so although I probably saw it at some point, it was never something I watched enough to remember. Why did I go? You ask. Well, the friend I went with is the complete opposite. Hunchback of Notre Dame is one of her all time favourite movies and musical scores so naturally I was dragged along. What a spectacular I would have missed if I said no.
About the Musical
“Prepare for an evening of soaring melodies, passionate performances, and the beauty of a timeless tale.”
Based on the Victor Hugo classic and brought to life by musical legends, Alan Menken and Stephen Schwartz, this concert version features an orchestral phenomenon rarely seen in a West End musical. There are additional songs on top of 1999 film adaptation songs, complete with a book by Peter Parnell.
The titular character, Quasimodo, is shared by Ben Joyce and Oliver Hewing in a joint song, dance, and signing role. Alongside, Zachary James (Claude Frollo), Christine Allado (Esmeralda), Dex Lee (Captain Phoebus) and Adam Strong (Clopin) join the cast fronting a 20-piece choir and full orchestra.
On for two nights only, 3 shows, this was a one-off special event that couldn’t be missed. It was on 17th August and 24th August only and practically sold out on every performance.
Review
I don’t want to give this a full musical style review (she says then goes on to write 1k words) knowing that it was “only” a concert but there are some keys things to point out. In this vain, I believe the most important performative aspects to talk about were the music and the vocals, as for the acting and adaptation, I’ll get to that…
The Music and Vocals
My favourite part of this was getting to see the orchestra on stage. Of course, you’re normally focused on the acting and singing upfront but it’s always lovely to see them get their moment. This was especially obvious at the end. Bows were finished and the orchestra were playing us out, but no one moved. Instead, everyone stood to watch them fully finish and gave them their own round of applause, and standing ovation. The addition of a 20-piece choir alongside really enhanced the grandeur of the performance and story.
The vocals were fabulous too. Every single one of the main cast had an excellent voice and blended in beautifully with the live music and choir. A true choral experience all-round. My honourable mentions have to go to the main two men: Ben Joyce and Zachary James. Absolutely excellent vocals. Zachary James is made to sing with a choir and orchestra.
Being the first, and one of only, performances, there appeared to be some sound hiccups where mics weren’t on in time and at moments I couldn’t quite hear the blend at the right volume from all areas (I was sat in the stalls) but overall the music and vocals from everyone was brilliant.
Other Areas
On top of the sound hiccups, I think there were a few prop moments too. Earlier on there was no knife, it was simply actioned, but later on one appeared so I’m not sure if that was supposed to happen, I would guess not. The costumes were pretty basic but suited the show well, especially since it wasn’t a fully staged production. There was not any set but they did include some church pews used throughout (I love it when things actually get used) and the lighting design really gave that extra atmosphere to enhance the performances.
Now, let’s talk about adaptation – with the knowledge that I don’t know too much about the book or movie and what I saw was pretty much what I know. I was able to follow along the story well thanks to the added lines and action between songs. Not to mention the music does a great job of telling the story. However, I have to admit I was confused a little by the dual casting of Quasimodo. I understood what was trying to be said, but that’s coming from a theatrical and analytical background, I’m not sure how the general public may have understood it. As it always is, it was lovely to see sign language being used within the choreography, and having witnessed some other audience conversations, notably a hard-of-hearing person sat in front of me, they seemed to be really impressed. The theatre critic in me though, having seen some brilliantly BSL-interpreted performances, and plays that include it without a second thought, felt it lacked, particularly given what they felt like they were trying to say.
This moves on to the general disability representation within the production. Being (mostly) able-bodied myself, I am definitely not the person you should be going to for opinions on this but I’m sure it is always good to add to the conversation. Since seeing this production, I have seen a lot of discourse around the casting of a seemingly none-disabled person cast as Quasimodo given how the character is actually written. I agree with a lot of it. Ben Joyce was brilliant, and having the addition of Oliver Hewing being a silent, almost sub-conscious being, who uses sign language to explore the character’s deaf identity, is a nice touch. However, it is just that, a touch. Given the importance to the role, I can’t help but feel like so much more should’ve been done, not least casting more representation on stage. I would have loved to have seen BSL all the way through as well. There have been statements released by Equity in regards to this so I implore you to do some research and make your own opinions. It should be a requirement these days to be truly inclusive.
Oliver Hewing did do a lovely job and his inclusion and interaction with other characters did add another layer to what could have been a basic stand-up-and-sing-only concert. He really showed the innocence of Quasimodo very well.
Looking forward, I do hope they eventually bring a fully staged version to the West End (and other places in the UK too!!). I can imagine the set being a grand replica of Notre Dame. I would love to see them find a way to keep the orchestra and choir seen by the audience. I would expect the costumes to be upgraded and the cast perhaps updated, despite the current cast being very good. In short, I want to see that inclusion and I want to see them explore the deaf and disabled identity of the character much more, like it should be.
Am I glad I went? Yes, because it was a great experience with my friend and the orchestra was brilliant.
Would I have actively looked to buy tickets if my friend wasn’t desperate to go? No, probably not. For the price, and additional travel to London I have to make, I would normally want to see a full production or have the cast be legends of the stage (e.g. I’d make the trip for The Great Gatsby cast any day). That said, another reason would probably be that I don’t have much affiliation with the film or book.
If you’re down in London and manage to grab a ticket, would I recommend? Yes, absolutely! It’s on a Sunday when a lot of shows aren’t on so it’s a great night out.
Would I go see a fully staged version if it ever came to light? Yes, probably. And more so now I’ve seen this.
If I had to give this a star rating I’d probably say a 4/5 starts. Everything was great, bar those niggles and then a whole star drop for the representation issue. Good to watch but theatre needs to do more.
Value for money
I’ve already alluded to this a bit above. Good value if you absolutely love Hunchback of Notre Dame, perhaps grew up with it, I suppose. Tickets are practically sold out for the finally show but the few remaining are £150. So if you live close enough to London to pop over and see it, and have a spare £150 gladly go to see it. Worth it to travel to? Maybe not so much, I’d say yes but only because of its exclusivity. That said, I know I could use that £150 to go see a number of other shows I’d rather see. But, I am glad I saw it.
Law few tickets available online.
Accesibility
Other than the lighting changes there are no real triggers for sensitivity issues. No glaring flashing lights, purely atmospheric.
Have Your Say
Have you been to the Prince Edward Theatre? Have you seen Hunchback of Notre Damel? Let me know in the comments and let’s get a discussion going.
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Jonathan Harper