For Whom the Bells Toll: “The Hunchback of Notre Dame,” at the Spotlight Theatre through October 18

I was nine when I saw Disney’s animated feature The Hunchback of Notre Dame at the movies. It unsettled me so badly that I never returned to the title until Friday’s opening night of the Spotlight Theatre's stage-musical adaptation. To say I was hesitant about my experience is an understatement. However, Director Brent Tubbs balances the darkness with enough beauty to make for a surprisingly affecting evening of theatre, even for this reluctant audience member.

You’re likely familiar with the tale of Quasimodo, the titular Hunchback, and Frollo, who keeps him isolated from society in the bell towers of the famed Parisian church. When a dancing gypsy girl, Esmeralda, befriends Quasimodo, he learns the role courage plays in his life. Make no mistake: This is not a show with a lovely, happy ending. In fact, it’s an altogether dark look at humanity. And October is a perfect time for The Hunchback of Notre Dame, because it’s spooky and dark – ideal for setting the Halloween mood without explicitly being Halloweeny.

Music director Matt Bishop is to be applauded. The onstage talent boasted many lovely voices, but what really elevated the production was the choir, which packed a powerful punch. I love a seat at the Spotlight with a straight-on view of the stage, but I nearly wish I were sitting where I could also watch the choir. I enjoyed the production's music throughout, though there were some occasional delays with mics coming up late.

Let’s be honest: Frollo (Doug Alderman) is the absolute worst, with literally nothing redeeming about him. Alderman does a fantastic job in the role, but whenever he was on stage, I was grimacing and unable to get past Frollo’s inaccurate theology and creepy double standards.

Harmoni Eiland was enchanting as Esmeralda, exactly what one would expect and want for the character. Eiland expertly played up the character’s kindness and paired that with such powerful vocals that it isn’t any wonder most of the named gentlemen in the show were obsessed with her. When Adam Sanders’ Quasimodo first sees Esmeralda as he is experiencing freedom for the first time, things turn horrific quickly. It turns out the world is cruel, even if you don’t want to think Frollo might be right.

When Esmeralda seeks out Quasimodo in his bell tower, Sanders and Eiland truly shine. Sanders perfectly balances the meek and fearful qualities with excellent physicality and a voice that fills the large space. Watching these two together was the very best part of the production – making it a shame, really, that they couldn’t just live in their “Top of the World” friendship bubble forever.

Alas, another man also has eyes for Esmeralda: Phoebus (Zach Ulmer), a new member of the Cathedral guard who vacillates between following Frollo’s orders and his own moral compass. Did I chuckle when Ulmer came up into the belfry and flopped dramatically due to his injury? (Yes, but I wasn’t the only one, I swear.) Overall, Ulmer made for a fine protector and admirer of Esmeralda.

Another defender of our main lady was Andy Curtiss' commanding, jovial Clopin, the leader of the gypsies. Though reluctant to accept Quasimodo, and for good reason, Clopin ultimately understands that Quasimodo isn’t a threat to his roaming community hidden in the Court of Miracles. It certainly seems that poor Quasimodo has been cursed, as even when he is trying to help or be brave, he is thwarted, and more disaster and sadness engulf him.

Meanwhile, Quasimodo’s other friends, the gargoyles, are decidedly less fun than the animated versions. But this Hunchback's team of six (Matthew Downey, Grace Mottet, Marissa Elliott, Heather Foss, Abigail Bennett, and Eli Swailes) is still rather supportive, given that they’re made of stone and part of Quasimodo’s internal monologues.

Amid a sea of people and costumes, I was utterly perplexed by the decision to have Maxwell Johnson’s gypsy character dressed identically after his first character, Jehan, died. It seems like it would have been an easy task for costumer Kimber McCord to switch out the distinctive vest before Johnson came cartwheeling into the Festival of Fools. Otherwise, the costumes were nice, with great pops of color and nods to the Disney looks people may be familiar with.

Choreographer Bethany Sanders had the cast doing some excellent and exciting dances that felt extremely natural. As for the sets, they were lovely, with different, gorgeous drops flying in and out. Admittedly, there was one point at which Quasimodo was climbing one of the staircases, and it seemed to be moving so much that I worried for Sanders’ safety, but this didn’t hinder the effect of the Cathedral's heights.

While The Hunchback of Notre Dame still hasn’t won me over as a story, the Spotlight's production offers plenty of beauty, powerful vocals, and memorable performances. If you have nostalgia for the Disney version or appreciate a darker story, this one is not to be missed.

The Hunchback of Notre Dame runs at the Spotlight Theatre (1800 Seventh Avenue, Moline IL) through October 18, and more information and tickets are available by calling (309)912-7647 and visiting TheSpotlightTheatreQC.com.