THE HUNCHBACK OF NOTRE DAME - RUNNING THROUGH MAY 12TH!
From the Oscar-winning team of Alan Manken
and Stephen Schwartz comes the lushly scored re-telling of Victor
Hugo's epic story of love, acceptance, and what it means to be a hero.
Set in the famous 15th century Paris
cathedral, Quasimodo, the unlikely hero, must save Esmerelda, the
beautiful and kind gypsy girl, from the evil archdeacon Frollo.
The Concord Players are thrilled to be the first community theater in the Boston area to present
The Hunchback of Notre Dame. Our production runs for two more weekends (through May 12th). Seats are available for all performances - don't miss your chance to see it!
Click here for a behind-the-scenes video (courtesy of CCTV), and here for a slideshow of photos from
The Hunchback of Notre Dame!
Act 1, Sc. 1: Elizabeth
looked up sharply. As the first woman to rule England, and with
enemies raising armies to oust her, she was always alert to possible
danger. She peered out from the fringe of her luxurious dark
tresses to... wait a minute... that's not right. Elizabeth
had red hair. It was curly red hair. There was no fringe, no
dark tresses. It was Curly. Red. Hair.
And there you have
it. The hair's the thing. Imagine watching a play in which
the Virgin Queen had a raven bob, or picture Desdemona sporting a
platinum 1950s bouffant. Imagine The Hunchback of Notre Dame
with monks in dreadlocks or a gypsy enchantress with a tight French
twist. It just wouldn't work. Hair defines the character as
much as anything the playwright puts on the stage, and that's why
Concord Players' hair designer Marc Capizzi worked so hard for
authenticity in the group's current production of The Hunchback of Notre Dame.
all aspects of a production the first step is research," he says.
"One has to research the many aspects of the era in which the play
takes place. I find the best resource is
portraits/paintings. They provide the most accurate images of the
he has a picture of the period and the look, he sets to work.
Whether it's with a wig, or by shaping the actor's own hair, the
designer's task is to make the actor (and the audience) see the
character. "It's important for the actor to wear the wig and not
have the wig wear the actor," Capizzi explains. "If the actor is
uncomfortable, it will pull the audience's focus away from the story,
and then the designer hasn't done his job."
Marc Capizzi (left) with director Nancy Curran Willis (center) and Quasimodo actor Daniel Monopoli (right)
has brought fastidious attention to detail in his work for this
production. Monks will have the short fringed hair we expect of a
medieval cleric but soldiers are different. Some have shoulder length
pageboys, typical of the time with bangs, others have unruly manes.
what of Esmeralda, the gypsy woman whose beauty intoxicates any man who
sees her? She is crowned with glorious locks of dark, cascading curls.
Those curls happen to belong to the actor who plays Esmeralda, but they
aren't enough for Marc. He's adding extensions to augment the
character's exotic allure, an allure that is central to the way the
meticulous care for this one aspect of the Concord Players' production
reflects all the designers' commitment to the show. They are all
following the lead of director Nancy Curran Willis who wants to convey
Victor Hugo's story with authenticity. "It's my goal to
create a production where the powerful story of the original book stands
out as much as the powerful and soaring score," she says. "In
story-theater format we will tell the dark side, the true side, of the
creative team has taken her direction to heart. Faithful Parisian
congregants might well have fallen to their knees in awe when entering
the majestic Notre Dame in medieval times Audiences to this show may
well want to do the same when they enter the Players' Notre Dame
designed by Brian Harris.
Kathy Booth and Pat Kane and their team built not only monk's robes,
but the intricate and varied wardrobes of medieval Parisians as well,
from the highest born to the lowest supplicants. Colorful gypsy costumes
splash on the stage with the same vivacity as the dancers who wear
then there is the music. The magnificent, soaring, heart-stopping
orchestrations of ecclesiastical sound that carry the audience through
both the holy and the profane. Music director Don Boronson has gathered
some of the regions finest voices to render the music in a chorus and
cast whose collective sound is both transcendent and transformational.
Concord Players' production of The Hunchback of Notre Dame will
be faithful to the values that Victor Hugo advanced in his story, and
to the period in which he placed it. For just a few hours,
audiences will be transported to 15th century Paris, where, within the
sacred walls of a great cathedral, we will see ourselves reflected in a
timeless, all-too-human tale.
Concord Players actress Bette Cloud died peacefully in Concord on March
30, 2018. She appeared on the Players' stage in five productions,
starting in 1968. Her most recent credit was for the title role in
Madwoman of Chaillot
. In 1970 she directed a short play by G.B. Shaw entitled Passion, Poison, and Petrification
an resident of Sudbury, she had moved to a senior-living apartment at
Newbury Court in Concord. She enjoyed regular appearances with the
Traveling Troupe, where every role showcased her prominent stage
Bette Cloud in
Madwoman of Chaillot
Aboard the Newbury Court bus headed for a recent Shear Madness
in Boston, she cheerfully recalled having previously played Mrs.
Shubert (professionally) in that same long-running production. But
at the theatre that afternoon, an unfortunate tumble landed her at
Tufts Medical Center with a broken hip and related complications.
She is being fondly remembered as the lovely British lady with the
wonderful accent, fantastic style, big personality, and generous heart.
--The Traveling Troupe
UPCOMING EVENTS AT 51 WALDEN
May 18, 19, and 20, 2018, Friday and Saturday at 8p.m. and Sunday at 2p.m.
The Concord Orchestra Pops: Heroes and Villains. Six by George
(Gershwin arr. by Hoffer), with vocalist Jeffrey Korn. Selections from My Fair Lady
. Table seating, refreshments for purchase. Tickets $25/$10. Call 978-369-4967 or buy on-line at www.concordorchestra.com.June 7, 9, and 10, 2018, Thursday and Saturday at 8p.m. and Sunday at 2p.m.
Opera51's fully staged and costumed production of Faust
by Charles Gounod, with chorus and orchestra conducted by Alan
Yost. Lead roles will be sung by Chris Eaglin, Robin Farnsley, and
Michael Prichard. Tickets are $30/$25 seniors and students.
Call 978-369-7911 to reserve or purchase tix on-line
. Click here
for more information.