Colorado Ballet’s new production of “The Hunchback of Notre Dame’ is a dark, disturbing and utterly gripping adaptation of Victor Hugo’s famous 19th-century novel.
The 1998 ballet was created by English choreographer Michael Pink and the rest of the creative team responsible for Colorado Ballet’s production of “Dracula,’ and like that work, England’s Northern Ballet Theatre staged the premiere.
This latest offering is perhaps not quite as choreographically innovative as “Dracula.’
But “Hunchback’ does as good a job as that ballet in fluidly telling the story and perhaps an even a better job of achieving dramatic impact; the characters seem better developed and more believable.
Few if any choreographers have been more successful than Pink in reinvigorating the sometimes-tired story ballet form by marrying dance and theater in a way that resonates with contemporary audiences.
While this ballet can be deeply touching at times, it in no way takes a Disney approach to what is a grim, even violent story. It includes a hanging and a harrowing pillory scene and makes no attempt at a forced happy ending.
For these reasons, parents should probably think twice before bringing young children to this production.
Composer Philip Feeney has created a wonderfully evocative score for “Hunchback,’ incorporating everything from early sacred choral music to pop influences. Sadly, this production relies on a recording, and not a very high-quality one at that.
The sets by Lez Brotherston and moody lighting by Paul Pyant compellingly evoke an often unsavory side of Paris hidden in the shadow of the always visible ramparts of Notre Dame.
As strong as the choreography and technical aspects of the ballet are, this production ultimately succeeds because of the commendable technical facility of the 43 dancers and their unflagging commitment to meeting the ballet’s intense dramatic demands.
Despite the title of the work, its central character is really the ill-fated Esmeralda. The tragic gypsy dancer is wrongfully condemned for the murder of her lover, receiving only a temporary reprieve when she is rescued by Quasimodo.
Pink gives her some beautiful moments, including a love duet with Phoebus, captain of the guard, and a chaotic scene in which she is pushed and pulled as Archdeacon Frollo and Quasimodo battle.
Both of the principal dancers portraying her in the two casts – Maria Mosina and Sharon Wehner – handle the considerable technical requirements of this role and give her a sense of humanity. But Mosina proves to be the better actress, powerfully conveying her vulnerability yet quiet power.
In the same way, principal dancer Koichi Kubo and Nathan Vander Stoep both do justice to Quasimodo. Kubo, the more technically adept, achieves a more nuanced portrayal, with attention to the smallest detail. This has to rank among the finest performances of his career.
Playing the evil archdeacon in both casts is the wonderful John Henry Reid, a corps member who is sure to advance in the company. He deftly handles the character’s spider-like movements and vividly conveys his villainy.
Principal dancers Chauncey Parsons and Igor Vassin are convincing as Phoebus, but Vassin brings a bit more dash to the role.
Fine arts critic Kyle MacMillan can be reached at 303-820-1675 or kmacmillan@denverpost.com.
“The Hunchback of Notre Dame’
COLORADO BALLET Ballet|Buell Theatre, Denver Performing Arts Complex; 7:30 p.m. Friday, 2 p.m. Sunday, 7:30 p.m. April 29 and 30, 2 p.m. May 1, 7:30 p.m. May 6, 2 and 7:30 p.m. May 7 and 2 p.m. May 8|$24-$85|303-837-8888 or www.coloradoballet.com.
