Frank Scheck, The Hollywood Reporter: For all the obvious effort and careful stagecraft that has gone into this long-gestating project, the show would probably benefit from being shorn of its Disney imprimatur. That's because it features a decidedly darker tone than its animated inspiration...this Hunchback is both too mature in its themes for younger children and insufficiently weighty to attract discerning adults. While its ambitions are laudable, the execution is muddled. The show is impressive on many levels...Menken's uncommonly complex, classically-influenced score often soars...Parnell's book relies too heavily on familiar story-theater elements, with the performers often using direct address to describe the plot machinations. But the melodramatic tale is stirringly rendered, with the fast-paced action delivered in a relatively tight two-and-a-half hours...Arden is terrific in the title role, superbly conveying his character's emotional pain and physical deformities while beautifully singing such emotive numbers as "Out There" and "Heaven's Light"...Page makes Frollo an intriguingly conflicted character suffused with a genuine complexity, and his powerful baritone voice is wonderfully showcased in such songs as "Sanctuary" and the showstopping "Hellfire."
Joe Dziemianowciz, New York Daily News: At its best, "Hunchback" offers four topflight lead performances. As the unfairly outcast hunchback, Michael Arden sings as loud and clear as the bells atop Notre Dame. Patrick Page, a go-to villain on Broadway, brings gravity and burly vocals as Frollo, Quasimodo's deeply religious and creepy caregiver. Andrew Samonsky adds hunkiness as the soldier Phoebus. And Ciara Renee is earthy and lovely as the gypsy Esmeralda...The look of the show is also very good. Alexander Dodge's lavish bell-tower, Alejo Vietti's gritty period costumes and Howell Binkley's dynamic lights lend to the atmosphere...This stage musical smartly excises comic relief from the film's giggling gargoyles. But recurring narration...gives the production child's storytime effect...You'd expect that pairing two greats like Menken...and Schwartz...would add up to music bigger than the sum of the parts. But these songs are largely lackluster - and elaborate orchestrations and a big chorus can't mask that. "Hunchback" also is weighed down by angst. Anxiety arises so much that there's rarely a chance to breathe and savor what's beautiful about the show.
Matt Windman, AM New York: ..."Hunchback" makes for an unusually dark and chilling piece of musical theater which explores physical deformity, religious extremism, sexual repression and even genocide. This may be the first Disney musical meant for adults rather than kids...The rich score, with music by Alan Menken ("Beauty and the Beast") and lyrics of Stephen Schwartz ("Wicked"), has been significantly expanded beyond the handful of songs from the movie. Though not exactly catchy, the songs have a hefty weight that reflects the source material. With a lavish set resembling the Notre Dame cathedral, the lavish, medieval-style production is built around a direct storytelling concept in which the versatile cast is enacting the famous tale for the audience. They are backed by a large church-style choir, adding a great deal of vocal power. Arden gives a vibrant performance as Quasimodo, who can barely communicate with others. Page...combines a commanding presence and deep baritone voice with shades of Frollo's complexities.
Michael Giltz, The Huffington Post: ...the show boasts truly excellent singing from its four leads, huge vocal support from the Continuo Arts Symphonic Chorus that certainly adds punch to the show's many, many climactic moments and superior playing from the orchestra conducted by musical director Brent-Alan Huffman. Quite simply, this work could not ask for a better showcase. The many failings on display are strictly its own...It has a new book by Peter Parnell and a great deal of sound and fury...But when not seeming like a poor cousin to Les Miserables, the show feels like all peaks and no valleys. The two romantic leads are cardboard cutouts on paper. Renée adds some genuine charm as Esmerelda but Samonsky feels resolutely modern as Phoebus. Patrick Page fares much better as the conflicted Frollo but it's almost entirely to his presence...all the songs blend together...Those who are musically inclined will appreciate the complexity of the score, the motifs for characters that are repeated throughout and the Latin choral work drawing on classic religious melodies for the act two curtain raiser. But no one will be singing them...it's quite bereft of any theatrical magic from director Scott Schwartz and his creative team; the climax is the first thing they should have tackled and solved but in fact they never came close to figuring it out
Mostly Mixed to negative.
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