Bashaw Community Theatre’s production of the Hunchback of Notre Dame proves that the arts are thriving in central Alberta.
For Bashaw’s crew, blocking didn’t really begin until mid-October explained director Lori Miller. Part of that was due to some of the production being part of another play. The other reason for the late blocking: the music.
“This play I can honestly say is the most difficult we’ve put on,” explained Miller pointing out that it took an additional two weeks to fine-tune the singing.
The music in Hunchback is quite complex, said Miller, with eight-part harmonies in some spots. That technical difficulty didn’t prevent the crew from moving forward and their hard work payed off in the final production. Actors hit their notes and the choir helped carry the music along.
“Our choir is hugely hearted and gave their all,” said Miller, adding that during rehearsals the choir would practice in one part of the Bashaw United Church while the cast practiced in another.
She estimates hundreds of hours were put in by assistant director Holly Chappell ensuring scripts and parts were sent to the actors and everyone knew what they were doing before production started. Miller adds that everyone involved was dedicated to putting on the best show possible.
“I’ve never seen anybody go on stage that didn’t want to do their best,” said Miller.
As the cast grew into their characters, the story really started to unfold, which gave Miller confidence that the daunting production would be one to remember.
There was quite a bit of thought put into the costuming and stage set-up. The gargoyles had a life of their own and the cast took advantage of every single inch of space on the stage. It was this conscious blocking and more that helped raise the imagination of the audience.
“It was worth the difficulty…because we’ve got this truth that belongs to each character,” Miller explained.
What most folks don’t realize is that one late element to the stage caused Miller to scrap the entire lighting plan.
She said the rose window, which was lit from behind, went up at the very last Sunday rehearsal before opening night and it was this addition that opened up the doors for creative lighting.
“It changed my intention of what we were doing with the lighting so I just followed my heart and my hands,” said Miller.
She credits Graham Boyes and Jeff Dantas for their work getting that piece of the set just right.
Miller was also pleased with how well the three directors worked together to put Hunchback on. She says with Chappell, Coleman Miller and Nadja Sawula-Brown at the helm, the production really came together. “It was such a gift to work with them.”
