By Gianzack Chariell and Luke Siravakian ‘27 and ‘26
A Review of Performing in Don Bosco Prep’s The Hunchback of Notre Dame — Gianzack Chariell ‘27
The Hunchback of Notre Dame was originally a novel written in the 1800’s by French writer, Victor Hugo. The legacy of Notre Dame and its hideous bell-ringer has ceased to disappear, as the story has been adapted into a Disney movie, live action movie, and even a thrilling musical, all having factors that relate to Hugo’s novel. The Hunchback of Notre Dame is a brutally candid story, displaying the evil and corruption behind Archdeacon Frollo, the cruel lifestyle Quasimodo is forced to live, and the prejudice and suffering endured by gypsies who deep down are kind and compassionate people. On the 28th through the 30th of March, the Don Bosco Prep (DBP) theater program portrayed the story, bringing the Notre Dame cathedral to the DeSales Auditorium. Personally, working on this production was some of the most fun I have ever had on stage. The musical’s brilliant music and remarkably telling story have left an impact on the entire cast and crew of the production, ultimately leaving DBP with one of our most successful shows in our history.
The Hunchback of Notre Dame has a very large cast. This was actually one of the main issues that kept it off of broadway. The DBP ensemble of saints, revelers, gargoyles, and gypsies all combined for roughly 23 people. Additionally, the five lead characters added onto the cast list. Quasimodo, the deformed bell-ringer of the cathedral, being the protagonist, was played by James Coleman ‘25. With notes reaching the top of the fourth octave, James was able to display his high tenor voice as he conveyed the horror Quasimodo faces day by day with iconic songs such as “Out There” and “Made of Stone.” Claude Frollo, Quasimodo’s evil step father, was portrayed by Quentin Hubner ‘26. Quentin remarkably displayed true evil with his acting, conveying the pure corruption behind the Archdeacon, through songs like “Hellfire” and “Esmeralda.” Furthermore, Esmeralda, the one and only female lead in the show, was portrayed by a long-time member of DBP theater, Lulu Oliveri ’26. Lulu not only portrayed Esmeralda as a kind and compassionate person, but as a talented gypsy girl, which the audience sees when Esmeralda performs “Rhythm of the Tambourine” towards the middle of Act 1. Esmeralda’s true love, Phoebus, is a soldier portrayed by Zavier Aviles ‘27. One of many sophomores in the show, Zavier expressed Phoebus’ character as someone traumatized by war, but a person who fights for what is right. Being a soldier, Phoebus was hated by our final lead, Clopin Trouillefou, portrayed by yours truly, Gianzack Chariell ‘27. Playing Clopin was no easy task, as his constant high energy and leadership led to an unpredictable, whitty, and somewhat psychotic character, highlighted in numbers such as “Court of Miracles” and “Topsy Turvy.“
Furthermore, the ensemble was highlighted with dance captains, music captains, and pure talent in general. Notably, Zach Emerson ‘27 was tasked not only as playing Saint Peter, but assisting the cast as our music captain. With the help of Zach’s magnificent piano skills, his perfect pitch, and his high tenor voice, the cast perfected its music, learning difficult harmonies, songs in Latin (such as Judex Crederis), and even new techniques for singing. Furthermore, IHA sophomore Carolina Guardascione ‘27 was our main dance captain. Through her experience in dance, she was able to help the cast learn somewhat difficult footwork and techniques. An example of this would be my split jump in Topsy Turvy (Part 1), as in the beginning of the rehearsal process, I struggled to successfully jump high enough. Through Carolina’s advice, the jump improved and led to a couple cheers from the audience during the show. Additionally, the audience certainly heard the three gargoyles, in songs such as “Top of the World” and “Made of Stone.” The three gargoyles, played by DBP students Noah Horvath ‘28, Liam Snyder ‘26, and Academy of Holy Angels (AHA) student Gabrielle Fontana ‘25 represented Quasimodo’s imaginary friends, as their uplifting and optimistic views eventually persuade him to explore the outside world.
Being on stage, it is difficult to recognize all the technical aspects of the show. However, one thing that was certainly evident was the lighting for our show. Beyond just the spot light, operated by Rocco Willi ‘27, DBP hired a professional lighting designer, Peter Lopez from Brooklyn, NY. Peter has worked on DBP shows before, such as The Importance of Being Earnest and Guys & Dolls, and has even worked on some off-broadway shows through his career thus far. Furthermore, Technical Director Mr. Austria and the stage crew worked long and hard to build one of our most illustrious sets thus far, displaying the Notre Dame cathedral on stage. Furthermore, the crew set up systems like smoke clouds that Clopin and the gypsies use to disappear. The person tasked with stating the cue line would walk over to the designated “poof! spot,” as the stage manager and physical cue from the actor let DBP Junior Dylan McCann ’26 know when to set off the smoke. With this, the illusion of disappearing was created, though it took a couple tries to perfect. Finally, costumes were certainly a significant part of the production. Paramus Catholic High School student Lia Schwedhelm ‘28, and DBP student Bruno Snyder ‘26 were the two main costume crew workers. Through their hard work, the gypsies were displayed as vibrant and energetic, while Quasimodo’s rag-looking costume emphasized the image of the “ugliest face in paris.” Furthermore, Frollo’s black and ominous robe symbolized his evil, creating a rather intimidating look. Though the technical side of theater is rarely seen on stage, their work behind the scenes is the true turning point in the process.
Personally, Clopin Trouillefou has gone down as my favorite role I have ever played. Though Clopin isn’t the most symbolic or thematic character the show has to offer, he is by far the most exciting character in the show. From posing as a beggar in order to pickpocket a wealthy man, to celebrating an imminent execution, to singing the last line of the show, every time I got to be on stage as Clopin, I had a smile on my face. And this smile was not nearly a cause of acting. Topsy Turvy for example, was a joy from “Part 1” to “Part 2.” There is truly nothing like calling people ugly while belting bizarre lyrics with full confidence in front of three-hundred people. Of course one of my favorite lines from “Topsy Turvy” was the iconic title drop: “Ladies and gentlemen, we’re in luck! We asked for the ugliest face in Paris…and we found him! Quasimodo, the Hunchback of Notre Dame!” Later in the show was Clopin’s true highlight. “The Court of Miracles” was certainly my favorite song out of the many I sing in. As Quasimodo and Phoebus wander into the gypsies’ hiding place to warn Esmeralda, the distrustful Clopin has the gypsies tie them up, as he sings how he is going to hang them, all with complete showmanship and psychotic joy.
All in all, The Hunchback of Notre Dame was one of my favorite periods of time during high school. Playing Clopin will always stick with me, and I will long for the chance to sing “The Court of Miracles” once again. Finally, I leave the experience with this lesson: life isn’t about sticking in your comfort zone. Take risks, be yourself, and have fun. Clopin allowed me to do this, as he dragged me out of my comfort zone on stage, and has most definitely improved my acting in many ways. Personally, I think this show was an outstanding success. From the music to the acting, and from the set to the lighting, everything was brilliant. It has been a blessing to work on the show of a lifetime, where every moment felt like the pièce de résistance, and I can’t wait to see what DBP Theater has in store for our next spring musical!
DBP’s The Hunchback of Notre Dame Delivers a Hauntingly Powerful Triumph — Luke Siravakian ‘26
In a production that soars as high as the bell towers of Notre Dame itself, Don Bosco Prep Theater Art productions The Hunchback of Notre Dame executes a spellbinding spectacle of ambition, artistry, and raw emotional depth. Faithfully adapted from Victor Hugo’s evocative 1831 French Gothic novel and the sweeping Alan Menken score, the high school performance navigates themes of love, prejudice, and the corrupting force of power with remarkable histrionic and technical sophistication. At its heart is Quasimodo, the deformed bell-ringer played by seasoned stage performer James Coleman, whose tragic devotion to the radiant gypsy dancer Esmeralda, portrayed by IHA Junior Lulu Oliveri, collides with the obsessive desires of Quentin Hubner’s fanatical Archdeacon Frollo, culminating in a harrowing struggle between mercy and damnation. With a commanding ensemble, soaring choral arrangements, and an outstanding visual set display that captures both the grandeur and shadows of 15th-century Paris, the cast and crew achieves a rare theatrical feat: an experience both striking and emotionally devastating, where every note, gesture, and moment resonates long after the final bell has tolled.
The Hunchback of Notre Dame powerfully opens Act One with the coalition of Saints rhythmically chanting Olim, a Latin word translating to “once” or “long ago”, setting an ominous tone for the Full Company’s sweeping rendition of “The Bells of Notre Dame”, where Hubner’s Dom Claude Frollo instantly seizes musical dominance with a commanding and sinister presence that instantly establishes him as the production’s ruthless antagonist, his voice cutting through the grand live orchestration as flashes of multicolored light erupt behind him, while Coleman’s Hunchback, a silent and spectral figure, prances unnoticed along the cathedral stairs, his presence a ghostly prelude to the tragic events that will unfold. Clopin, portrayed by sophomore Gianzack Chariell, vividly recounts the downfall of Jehan Frollo, the rebellious younger brother of the devout Claude–embodied by Ryan Pelosi–who is cast out of Notre Dame for his forbidden ties to a Romani woman, a turning point that ultimately propels Claude to ascend as the cathedral’s archdeacon. Gianzack energizes every scene he is in, never once failing to captivate the audience with his exuberant performance as the enigmatic, yet protective leader of the Romani people. As a jester and puppeteer, he assimilates an almost paradoxical neutrality, existing in a moral limbo that neither fully aligns with good nor evil, yet remains an unpredictable force in the story. Chariell’s appearance is imbued with a deep sense of cunning, shifting from playful mockery and buoyant showmanship to a disturbing ferocity, particularly in scenes such as the mob’s brutal attack on Quasimodo, where Clopin’s joviality morphs into a vicious display of mob mentality, as he leads the revelers in a chaotic frenzy. Hubner commands the stage with a presentation rich in emotional depth, utilizing meticulously controlled body language and intricate musical inflections to not only amplify the inherent malevolence of his character but also to heighten the stark contrast between his oppressive presence and the exuberant vitality of the gypsies’ uninhibited, dynamic way of life. As “Hellfire” unfolds, Hubner masterfully channels Frollo’s torment through a mesmerizing interplay of vocal intensity and restrained yet deeply evocative physicality, his every gesture exuding a simmering desperation that teeters between pious repression and unbridled obsession, while the stage itself is engulfed by a relentless cascade of bloody hues, the flickering of phantom flames casting ominous shadows that stretch and contort with the music’s swelling Gothic orchestration, mirroring the character’s unraveling psyche as he wrestles with his own desires, his voice oscillating between velvety, prayer-like solemnity and searing, almost operatic cruelty. In direct contrast to Hubner’s imposing Frollo, James Coleman offers a compelling portrayal of Quasimodo, masterfully embodying the character’s somatic expression with exquisite precision—his back perpetually arched, his posture hunched, and his movements marked by a pronounced limp and an almost palpable “weight”, all of which serve to authentically breathe life into the tragic figure, capturing both the isolation and the silent strength that define him. Another remarkable facet of Coleman’s acting lies in his profoundly expressive facial expressions, which powerfully encapsulates the intensity of pivotal moments. In “Topsy Curvy” during Act One, as Quasimodo is crowned the “King of Fools”, his face shifts from an expression of triumphant joy to one of utter shock and fear when the crowd, who moments earlier praised and celebrated him, betrays him and torments him for his physical deformity. His eyes,
laden with a potent stare of confusion and sadness, eloquently convey Quasimodo’s internal disarray in this harrowing moment, and ultimately, Coleman’s gift of truly enthralling the audience with a theatrical performance that frankly feels… real. Similarly, in “Made of Stone”, Coleman’s expressions transform with exceptional delicacy, revealing the raw vulnerability of Quasimodo’s isolation and unrequited love; his downcast gaze, tremoring hands, and the faintest quiver of his lip poignantly embody the character’s silent anguish. This extraordinary ability to seamlessly navigate between moments of jubilant illusion and crushing solitude speaks volumes of Coleman’s understanding of Quasimodo’s psychological complexity, a skill reminiscent of his portrayal of Simon in Lord of the Flies–a tragic depiction in which emotive range lent an unparalleled authenticity to the character’s humanity, further solidifying Coleman’s ability to inhabit multifaceted, emotionally infused roles. In perfect complement to Coleman’s masterful interpretation of Quasimodo, Lulu Oliveri’s performance as Esmeralda emerges as an exceptional juxtaposition, her character’s alluring beauty and quick-witted charm capturing Quasimodo’s attention with a magnetic intensity that transcends mere superficiality. Oliveri’s transformative ability to fully inhabit the role of a Gypsy is nothing short of extraordinary, as she immerses herself with both precision and nuance into the cultural and social intricacies of this marginalized community, her embodiment of their distinctive ethos articulated with such remarkable verisimilitude that it becomes impossible to separate her from the very essence of her character. Through her complex interactions with both Quasimodo and Frollo, Esmeralda evolves from a mere romantic interest into a powerful emblem of defiance and otherness, her presence serving as an active force that disrupts and challenges the stifling, morally rigid atmosphere of Parisian society, revealing the character’s inherent resistance to the status quo. As such, Oliveri’s stagecraft injects an iridescent vibrancy into a world otherwise shackled by institutionalized repression and a pervasive sense of stagnation, positioning Esmeralda not only as a figure of palpable contrast but as an agent of change, her very being acting as a potent antidote to the suffocating monotony that plagues the city’s physical landscape. Lastly, Zavier Aviles characterization as Phoebus brought an additional dimension to the convoluted romance between Esmeralda and Quasimodo, charming the stage as the illustrious Captain of the Guard, torn between his loyalty to Frollo and his growing affection for the electric Esmeralda. One of Aviles’ most compelling moments unfolded during his duet with Esmeralda in the prison, where they performed “Someday” under the stark glow of a solitary white spotlight.
While the lead performances were central to the production, the ensemble and minor characters often fell short in terms of cohesiveness and timing, occasionally weakening the overall impact of the scenes in which they appeared. Ghostly, operatic undertones, vocalized by humanized saintly icons and the Parisians, undoubtedly enhanced the tension in pivotal scenes such as Hubner’s sinister “Hellfire” solo and the dramatic climax of “Kyrie Eleison” in the town square. However, the choreography, though ambitious, often faltered in execution; at times, the ensemble seemed reliant on one another for timing cues and direction, which undermined the otherwise fluid and cohesive nature of the production. Natalia Giraldo’s role as a featured Gypsy through street dancing afforded her a few moments on stage, but the performances felt somewhat forced, ultimately lacking the authenticity and fluidity that would have made it more compelling. Still, the ensemble vividly adorned the DBP stage with resplendent, fruitful colors reflective of medieval Pairsian culture; their mesmerizing performance, characterized by daring body contortions and audacious movement, served as a deliberate antithesis to the austere, ascetic existence that had long confined Frollo and Quasimodo. DBP Junior William Synder stealthily enriched the stage starring as Hugo the Gargoyle, one of Quasimodo’s imaginary companions conceived from the profound isolation he endured within the towering, oppressive walls of Notre Dame Cathedral. Synder exhibits an exceptional command over emotional expression, expertly navigating the delicate balance between animism and drama with a precision that suffuses his performance with both levity and depth. His portrayal of Hugo seamlessly oscillates between moments of playful liveliness and poignant stillness, showcasing his ability to infuse the character with both warmth and detachment. When the time came for Hugo to revert to his stone-like immobility, Synder demonstrated an exceptional mastery of physical stillness, epitomizing the very essence of a lifeless statue with such unwavering intensity that he seemed, for all intents and purposes, frozen in time. As the DeSales Theater lights dimmed and the stage erupted in a dazzling flood of illumination, the sharp, reminiscent silhouettes of eight distinct saints immediately commanded attention. However, among these figures, it was Jack Schreiber’s representation of St. Mark that truly captivated the audience, standing out with incredible clarity. Donned in the iconic white robe, with the red hanging drape that defined the saint’s traditional appearance, along with the recognizable goatee, Schreiber embodied St. Mark with an authenticity that transcended a simple costume – from high above in the cathedral, Schreiber narrated nearly every scene set in the Bell Tower, his performance spanning a range of key songs, including “God Help the Outcasts”, “Top of the World”, “Agnus Dei”, and “Flight into Egypt”. Schreiber not only advanced the plot and seamlessly guided the audience through the drama, but also underscored the thematic richness of each musical number, further enriching the atmosphere of the production.
The production’s technical design was a triumph of ingenuity, transforming the stage into a breathtaking vision of Notre Dame through masterful craftsmanship and innovation. The design team’s meticulous attention to detail was evident in every element, particularly in the cathedral’s stained-glass windows, which, though crafted from large, thin sheets of colored material, became luminous spectacles under the stage lighting. These ingenious creations, strategically placed to catch the shifting beams, radiated with an almost divine brilliance, casting kaleidoscopic patterns that bathed the stage in ethereal hues, evoking the sacred yet imposing grandeur of the Gothic masterpiece. Joseph Austria, the production’s Technical Director/Set Designer, alongside Gerald Gershon, Robert Gregg, Maggie Mascitello, Reagan Pych, and Rocco Willi, skillfully recreated the magnificence of 15th-century Paris on a high school stage, designing a beautiful Gothic cathedral complete with dual staircases ascending to a second level, while a classic checkered floor pattern added an air of historical originality. The play was not burdened by an abundance of props; aside from the wooden bench that Quasimodo would occasionally bring out to listen to Frollo’s religious lectures, the knife used to stab the Captain, a few Guard swords, Frederic’s shovel (character played by Blake McCarthy), and the colorful Gypsy drapes that saturated the town square, the minimalist approach proved to be a deliberate choice, serving to focus attention on the narrative itself, streamline the production, and enhance the overall effectiveness of the story being told. Integral to the authentic recreation of 15th-century Paris was the meticulous craftsmanship of the costumes, a feat overseen by Junior Bruno Synder and costume designer Thomasina Hyland. Most striking, in my view, were the Gypsies, whose effulgent, vividly hued garments illuminated the stage, serving as a brilliant counterpoint to the austere, monochromatic palette of the cathedral and heightening the production’s dramatic dichotomy. Naturally, a musical’s essence lies in its sound design and musical composition–yet, what distinguished this production from a conventional high school musical was the presence of a live orchestra. Under the direction of Brian Walters, the 11-member ensemble performed with remarkable cohesion, while notably, a sophomore, Zachary Charles Costa, played Menken’s sheet music effortlessly on one of the keyboards. Each member of the orchestra demonstrated extraordinary rigor and adaptability, seamlessly working in concert with one another, skillfully adjusting to the occasional human imperfections in the actors’ performances with grace and poise. Lastly, the production’s aesthetic impact was inextricably linked to the sophisticated deployment of its lighting design, courtesy of Brooklyn-based lighting director Peter Lopez. In addition to Lopez’ visionary work, assistant lighting designer Rocco Willi energized the stage, controlling one of the primary spotlights during the high-intensity action sequences. While the general audience may not have been full aware, the lighting design underwent a subtle yet highly intentional transformation to mirror the emotional undercurrents of the narrative; in sequences involving romance or heightened emotionality, such as those involving Esmeralda and Quasimodo or Phoebus, the lighting was intentionally saturated with soft pink and red hues–colors historically associated with warmth, passion, and tenderness–thus reinforcing the characters’ emotional intimacy. Conversely, scenes set within the bell tower were characterized by a calculated use of darker, cooler tones–predominantly deep blues and muted shadows–which not only underscored the physical confinement of Quasimodo but also functioned as a powerful visual representation of his psychological and existential fragmentation.
The Don Bosco Prep Theater Arts Spring production of The Hunchback of Notre Dame immersed audiences in Paris during the year 1482–a time of profound political metamorphosis, marked by the ongoing Hundred Years’ War, the rise of the French monarchy, and the burgeoning Renaissance. James Coleman truly captivates the audience with his portrayal of Quasimodo, the young and deformed bell-ringer of Notre Dame who develops a romantic interest in Lulu Oliveri’s lively Gypsy dancer, Esmeralda. Victor Hugo’s faithfully adapted novel, while eliciting the thematic depth and tragic romanticism characteristic of Shakespearean literature, simultaneously transcends conventional notions of love and fate by embedding within its narrative a dialectical interrogation of societal structures, moral absolutism, and the existential struggle between individual agency and systemic oppression, ultimately positioning itself as both a literary tour de force and a profound socio-philosophical treatise. The production was a remarkable feat of craftsmanship, featuring an intricately designed cathedral set, complete with grand double staircases leading to a second level, where the Saints of the musical were framed by the rich, stained-glass panels. The lighting design was both sophisticated and dynamic, heightening the atmosphere and elevating the performance to the caliber of a premier Broadway production. The cast and crew, who had dedicated months of rigorous preparation, brought their vision to life in a series of performances spanning three days. Their dedication was not simply apparent–it was transformative, and the excellence they achieved stood as a testament to their unwavering commitment to the craft, leaving an indelible mark on the audience and rendering the entire production a resounding success.