This story was produced by the OC Theatre Guild as part of a community media partnership with Culture OC. It was written and edited independently by the Guild’s selected contributors. This collaboration supports our effort to celebrate and amplify the vibrant arts and culture scene in Orange County.

‘The Hunchback of Notre Dame’ at Alchemy Theatre Company — Artwork courtesy of Alchemy Theatre Company.

By OC Theatre Guild

November 4, 2026

Written for OC Theatre Guild by Shannon Cudd

Alchemy Theatre Company

‘The Hunchback of Notre Dame’

When: Nov. 13 – 29, 2026

Where: Yorba Linda Cultural Arts Center, 4802 Lakeview Ave., Yorba Linda

More Info: (909) 896-0676, AlchemyTheatre.com

The adage “don’t judge a book by its cover” applies to Alchemy Theatre’s upcoming production of “The Hunchback of Notre Dame” on multiple levels.

First, Alchemy performs at the Virginia De Land Theater, located in the Yorba Linda Cultural Arts Center across the way from the library. Alchemy likes to pay homage to this geography by choosing shows with a literary background. A musical version of Victor Hugo’s classic novel surely qualifies.

Artistic Director and show director Jeff Lowe wasn’t supposed to direct this production. Tucker Boyes was slated to, but when he got a performing offer he couldn’t refuse, Lowe was happy to take over so his friend could break legs. Lowe has previously performed in the show and kept Boyes’ initial vision, granting him an associate director credit.

Another reason the book metaphor works is because of the central conflict of “Hunchback.” Most people know the basic plot either from the book or the Disney movie. Quasimodo, the isolated, disfigured bell ringer of Notre Dame, was raised to stay hidden in the cathedral by his guardian, Claude Frollo. When he finds the courage to venture out, he learns many of the people Frollo has taught him to fear, such as Esmeralda, are not so bad.

Lowe believes the themes found in “Hunchback” are relevant today.

“It’s important because of this prevailing notion in the play of othering people,” he explained. “And it’s not just othering Quasimodo because of how he looks, but it’s othering the Romani people just because of their cultural background. There’s certainly a lot of that going on in our culture today. It is a willful ignorance not to understand somebody that does not have your same lived experience and that’s what keeps us apart.”

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Lowe is aware this is not the only production of “Hunchback” gracing the local stages this season. He believes the show is so powerful that it is beneficial to see multiple versions. There are also several aspects of this production that set it apart.

Speaking of multiple levels, the Virginia De Land Theater gives Alchemy a large playground to create on. The set will be two stories, physically manifesting the large, imposing nature of the cathedral and just how much of a central figure it was during that time period.

Lowe and Boyes’ shared vision also gives the production a unique spin.

“The premise we’re using as a framing device is a Romani troupe putting on the show. These folks are telling the story of one of their women who rises up against oppressors,” he stated.

Lowe and Boyes also brought on choreographer Jennifer Kornswiet, who loves to add dance and movement to musicals that don’t traditionally call for it.

“Jeff, Tucker and I were very collaborative from the beginning and had detailed conversations about the numbers that lent themselves to choreography,” Kornswiet recalled. “We never wanted to push dance or movement if it wasn’t needed, but use it to enhance specific moments in the story, in particular to help us get to know our characters or environments better. The music in Hunchback is so powerful, and Jeff really worked to figure out what numbers could breathe on their own solely with voices, and which became even more powerful with movement.”

It was important to Kornswiet that the movement respectfully reflected traditional Romani practices.

Movement has the ability to communicate intense emotions that dialogue and music alone sometimes cannot. In this production, two actors share the role of Clopin. Leelee Sedlacek performs using American Sign Language, and Joshua David Vega vocalizes in English, further supporting the theme of inclusion.

“One of the most impactful moments in our show comes when movement and meaning combine in the most beautiful way,” Kornswiet explained. “Sign language isn’t just meaning, it is movement, a visual that corresponds with a message. There is a particular moment when our whole cast comes together to sign with Leelee. That moment of movement as communication is one of the purest in the show.”

Lowe urges fans of the Disney movie not to miss out on the musical because it allowed composer Alan Menken, lyricist Stephen Schwartz and book writer Peter Parnell more room to explore the story.

“If you think you already know the show, then you owe it to yourself to see the ‘director’s cut’ of the show,” he stated. “If you know the Disney animated film, you’re only seeing about 80 to 90 minutes of what really is a fully fleshed-out production.”

Lowe went on to praise his whole creative team and cast. He lauded the costume design by Courtney Duncan-Schwartz and associate designer Adam Nestor West. Schwartz is a medievalist, so this is literally her area of expertise.

Kornswiet also believes this show is a call to action.

“The world could use a lot more kindness, bravery and understanding,” she urged. “Like the bells Quasimodo rings, it is a call to wake up and look within to see if we are being the best people we can be.”