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A sweeping musical about love, prejudice and the courage to defend outsiders will take the stage in Fairfax City when the City of Fairfax Theatre Co. presents “The Hunchback of Notre Dame” from July 18-26 at Katherine Johnson Middle School.
Adapted from Victor Hugo’s novel and the Disney film, the musical follows Quasimodo, a kindhearted bellringer living inside Notre Dame Cathedral in 15th-century Paris. His guardian, Archdeacon Claude Frollo, keeps him hidden from society, but Quasimodo longs to experience life beyond the cathedral. His world begins to change after he befriends Esmeralda, a Romani woman committed to freedom and justice.
Director Zachary Flick said the production explores how society treats people differently because of their bodies, skin color or disabilities. He sees Quasimodo and Esmeralda’s relationship—and their willingness to treat each other with humanity—as the heart of a story about resisting oppression and speaking up for what is right.
Flick said the themes feel especially relevant amid contemporary debates over immigration and the treatment of people from different cultures. Although the story has been told repeatedly, he said the actors have brought fresh perspectives and nuance to their characters through a collaborative rehearsal process.
The production brings together 55 cast and crew members from across the Washington metropolitan area. Participants range from 12 years old to their late 40s and include both experienced performers and actors appearing in their first play.
A 15-piece orchestra will perform the musical’s score. Noah Beye designed a three-level, deconstructed version of Notre Dame featuring a stained-glass rose window and bell tower.
Period-inspired costumes complete the setting. Women wear colorful dresses, skirts, aprons and headpieces, while men appear in breeches, flowing shirts and hats. Soldiers are dressed in French military uniforms, and members of the clergy wear Catholic robes.
Quasimodo’s search for acceptance
Fairfax City resident and 2018 Woodson High School graduate Mylo Cluff plays Quasimodo as an optimistic but isolated 18-year-old. The character is physically strong but partially deaf after years of ringing cathedral bells.
Quasimodo has spent his life speaking almost exclusively with Frollo, who taught him that the outside world is cruel and would never accept him. Cluff said that warning initially appears true, but Quasimodo eventually finds the acceptance he has long sought.
Balancing the character’s anguish with his enduring joy and faith in humanity has made the role especially demanding, Cluff said. The music also presents a substantial vocal challenge.
His favorite number is “Out There,” Quasimodo’s first solo. In it, the bellringer celebrates ordinary freedoms that others barely notice, such as walking in the sun or strolling beside someone they love.
Cluff expects the score, scenery, costumes and lighting to create a striking theatrical experience. As a transgender man, he also feels a personal connection to a character whose body becomes the subject of public judgment. He described the production as a labor of love built around hope and acceptance.
Frollo brings the story’s darkest conflict
Little Rocky Run resident Andreas Moffett portrays Frollo, the archdeacon of Notre Dame and Quasimodo’s father figure. Moffett sees him as intelligent, manipulative and self-righteous—a man willing to rationalize nearly anything to obtain what he wants.
Frollo shows affection for Quasimodo while also despising his Romani heritage. His prejudice blinds him to the contradiction between his religious position and his desire to persecute an entire community.
The part is physically difficult for Moffett, a classically trained tenor who must sing in a bass range. It is also emotionally taxing because he must convincingly embody beliefs completely opposed to his own. Before and after particularly intense scenes, he and Olivia Clavel-Davis, who plays Esmeralda, check on each other.
Moffett’s favorite solo is “Hellfire,” in which Frollo wrestles with his obsession with Esmeralda before deciding he would accept damnation to control her.
Against the backdrop of ICE raids in Northern Virginia, Moffett said the production’s warnings about unchecked power, hatred, fear and prejudice carry particular weight. He hopes the story prompts audiences to consider how individuals can resist injustice and how collective action can overcome a powerful oppressor.
Esmeralda and Clopin defend their community
Clavel-Davis portrays Esmeralda as free-spirited but firmly guided by her principles. Although she earns money as a street singer and dancer, she is most committed to helping people who have been denied power and protection.
The role allows Clavel-Davis, primarily a dancer, to combine dancing with some of the musical’s best-known songs. She also values the opportunity to represent people who are often excluded from particular theatrical roles because of their appearance.
Her favorite number is “Someday,” performed with Nicolas Burgos as the soldier Phoebus. The song looks toward a more hopeful future, even if Esmeralda must surrender her own wishes for the greater good.
Clavel-Davis said the stage musical contains unexpected moments absent from the Disney film. She hopes they encourage theatergoers to examine how the story’s lessons about judgment and compassion apply to daily life.
Jasmine Jones plays Clopin, queen of the Romani community, leader of the performing troupe and one of seven narrators. The story begins during the Feast of Fools on Jan. 6, the single day each year when the Romani performers are permitted to dance.
Jones said the community has been ostracized and dehumanized under the influence of the church. Clopin is mischievous but fiercely loyal, working to help her people survive and protect a secret refuge where anyone facing persecution may hide.
Jones connects with Clopin’s humor, devotion and sense of responsibility toward those she loves. Her favorite song is “Top of the World,” performed by Quasimodo, Esmeralda and the Gargoyles, which represent Quasimodo’s thoughts. The scene marks the first time he experiences genuine, selfless kindness.
For Jones, the musical ultimately asks audiences to decide what separates a person from a monster—and whether they will ignore suffering or offer help when confronted with cruelty.
Performance schedule
Performances are scheduled for:
- Friday, July 18, at 7 p.m.
- Saturday, July 19, at 1:30 and 7 p.m.
- Sunday, July 20, at 3 p.m.
- Wednesday, July 23, at 7 p.m., with a sensory-friendly presentation
- Thursday, July 24, at 7 p.m., with ASL interpretation, audio description and pay-what-you-can admission
- Friday, July 25, at 7 p.m.
- Saturday, July 26, at 1:30 and 7 p.m.
Because of its language and subject matter, the production is not recommended for young audiences.