See Magazine Preview
March 2011

"Our version is a romantic, gothic tragedy, and it is about what individuals do for love, and how unreasonable people can be," Scott Walters says. Walters will be tackling the challenging role of Claude Frollo, the tormented priest and caretaker of the cathedral who develops forbidden, unfamiliar feelings for the Gypsy dancer Esmerelda.

The creation of the play began with a workshop process last August which formed the core of the show, and then the cast came back together in January to rehearse the completed version after Christenson had some time to write and compose. The show then pre-premiered up in Fort McMurray to standing ovations, and after adding live musicians it will receive its world premiere at the Citadel.

In addition to the distinct stylized design of the show, Walters tells me that this production is unique in its adherence to the tragic ending.

"Of all the versions that we watched, none of them went for the original full story book ending," he says. Hunchback takes the audience back to the source and Walters assures me they won't be slapping on a happy ending.

The production is being commissioned by the Citadel Theatre, so rather than being performed in the Catalyst space, it will inhabit the larger Shoctor Theatre.

"The size of our show is very grand; its style is in the realm of opera and Greek tragedy, the size and gestures of the cast will be quite large, quite stylized and will fill the Shoctor space appropriately," Walters says. "It's going to be very suitable for the Citadel."

Audiences can look forward to some big costuming choices as well as big performances.

"The materials that they're using for costumes are gorgeous; they're expressionistic and the lines are exaggerated," Walters says. "I've been given six inch plastic wedge shoes." "The priests garb is very large; I look immense on stage. I think my height adds to the erectile nature of the character — the more Frollo sees Esmerelda the taller he becomes."

For Walters, who trained at Grant MacEwan in the musical theatre program, the dramatic nature of this production has been a new challenge.

"I'm a comedian and singer — I'm used to doing the funny stuff, lighter stuff. This is truly the first tragedy that I've ever done," Walters says. "It's been the biggest challenge of my life to telegraph a character who restricts emotion and expressing love."

As is often the case in life, with the biggest challenges come the biggest rewards. What is Walters' favourite moment in the play?

"Frollo arranges to have Esmerelda trapped in the catacombs of the church, and he finally gets her alone, and he blows it. The ultimate tragedy to me is to confess your love to someone and they don't want anything to do with you. My favourite part is when his heart gets broken."

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