CASA 0101 triumphs like never before with the musical stage adaptation of Victor Hugo’s The Hunchback Of Notre Dame in a production that more than holds its own against L.A.’s most prestigious 99-seat theaters.

Book writer Peter Parnell may integrate a number of Alan Menken/Stephen Schwartz songs from the 1996 animated feature smash into his musical stage adaptation, but don’t expect Disney froth at CASA 0101.

Instead, Hunchback The Musical mixes adult-themed Phantom/Jekyll & Hyde-style drama with equal parts spectacle and heart.

A back-story quite distinct from the Disney flick introduces us to Quasimodo (CJ Cruz) as the orphaned son of chief villain Claude Frollo’s (Jack Bernaz) younger brother Jehan (Sammy J. Kohler) and his Romani lover Florika.

Hunchback The Musical does follow the movie as regards the sultry Esmeralda (Bimei Flores), introducing us to the seductress during Quasimodo’s excursion to the annual Festival Of Fools, where our hunchbacked hero also makes the acquaintance of Captain Phoebus (Drew Maidment) and soon finds himself competing with the dashing soldier for Esmeralda’s affection.

Meanwhile, Frollo’s lust for the luscious temptress not only smolders, it ranks tops among reasons for parents of preteens to hire a babysitter before heading off for an evening performance or matinee at CASA 0101.

Menken/Schwartz fans can rejoice that almost all of the film’s original songs remain including “Out There,” “Somewhere,” and “God Help The Outcasts” (though not the campy “A Guy Like You”) and a number of the musical’s new songs prove memorable as well.

As for Parnell’s book, it’s hard not to be gripped by this centuries-old underdog tale, whether witnessing Quasimodo’s public humiliation at the hands of an intolerant populace or seeing Esmeralda and her fellow Romani demonized as sub-human. In other words, this is one musical likely to resonate with anyone who’s ever felt victimized by fear-induced prejudice.

 A musical as opulent as The Hunchback Of Notre Dame presents particular challenges when scaled down to 99-seat dimensions, but they are challenges which CASA 0101 meets to impressive effect.

Scenic designer Marcos DeLeón’s scaffolding-based set suggests the grandeur of Notre Dame, and never more so than when Alejandro Parra’s gorgeously saturated lighting design takes effect in a number of stunning sequences and effects.

Alejandro Lechuga’s costumes, particularly those designed for Esmeralda and her fellow gypsies and town revelers, rival those you’d see in a major regional theater, and Lorena M. Ortega fills the stage with an abundance of period props.

Still, even with the finest of production designs, it takes a stellar cast for The Hunchback Of Notre Dame to succeed, and here too CASA 0101 scores a bullseye, with director Rigo Tejada not only earning high marks for staging the musical on DeLeón’s set but for the phenomenal performances he elicits from his five leads and an all-around topnotch supporting ensemble.

 Casting boyish powerhouse Cruz as the outwardly monstrous Quasimodo is a particular stroke of genius, allowing us to see the sweet, caring, inner-beauty-blessed young man he is, and Cruz not only delivers the dramatic goods but sings Quasimodo’s beautiful heart out in “Out There” and “Heaven’s Light.” (Bring Kleenex.)

And speaking of vocal chops, I don’t think I’ve ever heard Esmeralda sung more stunningly than the alluring Flores sings her. (Get this woman a “The Voice” audition asap.)

Bernaz not only soars vocally as Frollo, he reveals all the inner conflicts tormenting the depraved archdeacon; Maidment is dashing as all get-out, and supremely likable, as Phoebus (in addition to showing off his own crystal-clear tenor); and Thumé steals every scene he’s in as the irrepressible, tale-narrating mischief maker Clopin.

Sol June, Jude Monge, and Kong Vang are all three terrific as Quasimodo’s Gargoyle besties in addition to their tracks as gypsies, revelers, parishioner, soldiers, and assorted citizens.

Kohler is a particular featured standout Jehan, Saint Aphrodisius, and more; Ethan Trejo is a queer delight as King Louis XI in addition to singing in the show’s Choir alongside Brianna Bonilla, Chrissi Erickson, Anthony Galang, Andrea Lara, and Stormi Raii.

Last but not least, there’s not a weak link in the singing-dancing ensemble completed by Rachel Aspyn, André Heimos, Angelica Ornelas, Gabriella Ortiz, Alyssa Rojas, Jocelyn Thalia Sanchez, and Dian Yu in multiple roles each, in particular when executing Tania Possick’s festive choreography.

Sound designer Miguel Delgado expertly mixes amped vocals (under Gabriella Maldonado’s accomplished music direction) with lush orchestral prerecorded tracks.

Casting is by Edward Padilla. Diego Huerta-Gutiérrez understudies the roles of Quasimodo and Phoebus.

Ellen Arroyo is intimacy and fight coordinator. Joaquín Madrid Larrañaga is stage manager and Doreen Sanchez and Christopher Martinez are assistant stage managers.

The Hunchback Of Notre Dame is produced by Emmanuel Deleage and Abel Alvarado is associate producer. Steve Moyer is publicist.

Having seen The Hunchback Of Notre Dame in multiple big-stage, big-budget productions, I know just how daunting a show it is to scale down to 99-seat-theater proportions with a far more limited budget, and so it’s not without a certain trepidation that I attended last night’s performance at CASA 0101.

I needn’t have fretted given how absolutely sensational this production is. Musical theater lovers can expect to be blown away.

CASA 0101 Theatre, 2102 E. 1st Street, Los Angeles.
www.casa0101.org

–Steven Stanley
November 22, 2024
Photos: Steve Moyer

Tags: Alan Menken, Casa 0101, Los Angeles Theater Review, Peter Parnell, Stephen Schwartz