The Hunchback of Notre Dame
The sensational Victorian premiere of The Hunchback of Notre Dame is in good hands with OSMaD. The creative team and many of the cast is a Who's Who of Music Theatre Guild of Victoria and Lyrebird Award winners and nominees. The musical version of Hunchback began life as an animated film in 1996, aimed at younger audiences. However, this adaptation, with a new book by Peter Parnell, using direct passages from Victor Hugo's gothic novel, is definitely aimed towards mature audiences. Director Joel Batalha has explored the darker themes to develop a theatrical experience that both entertains and uplifts, whilst still challenging the way we see humanity.
Set Design by Brenton Van Vliet is jaw-dropping to say the least! Grand sets include the interior of the cathedral (with its massive flying buttresses), the tower (complete with the 'Great Bell' and two smaller ones as the centerpiece) and the famous rose window. The choir loft running right across the back of the stage is a masterpiece of construction in itself! Depictions of the cathedral exterior and various locations in Paris are projected onto what appear to be giant pieces of ripped paper. This symbolism (used by Hugo in the original novel) serves as a reminder of the fragility of human hope and identity. The large set pieces were seamlessly moved off and onstage, quietly and quickly!
Choreographer Caitlin Lamont uses a mix of contemporary and traditional dance techniques, enhancing the emotional impact of key moments in the story.The lively movements in 'Topsy Turvy' created the chaotic festive atmosphere of the Feast of Fools, whilst the exoticism of the Romani gypsies is highlighted during the energetic 'Rhythm of the Tambourine' number.
The visually stunning costumes designed by Colin Hartley and Penn Valk have been well researched, reflecting the time period, setting and personalities of the characters. Whether it is Quadimodo's tattered clothing (including a prosthetic to portray his physical deformity), the gypsies’ flowing skirts and headdresses (reflecting their free-spirited nature), Frollo's more sombre, authoritarian garb, or the uniforms of the Guards of Notre Dame, the intricate details, colour and choice of fabrics adds to the fantasy and spectacle.
Exquisite lighting design by Peter Verhagen is exciting and dynamic! Many of the lighting effects are unanticipated, such as the flashes from smoke bombs used by Clopin (King of the gypsies) to escape from Frollo and his guards. The lighting in the cathedral feels real, as if we have been transported to pre-electric Paris in 1482. The light coming through the stained glass windows creates a mesmerizing effect, particularly during the dramatic Act One showstopper 'Hellfire'.
Sound Designers Marcello Lo Ricco and Steve Cooke have created a good mix between the sixty-two member company (including the choir) and the orchestra. The ensemble, used as a Greek chorus (where the actors comment on the main action of the play) were on the whole audible, allowing the audience to catch each sentence and push the narrative forward. Sound effects such as bells chiming, water dripping in the prison and voices whispering created a three-dimensional soundscape.
Composer Alan Menken (Little Mermaid, Beauty & The Beast, Aladdin & Pocahontas) and lyricist Stephen Schwartz's (Pippin, Wicked & Prince of Egypt) score and songs are powerful and evocative. A blend of choral arrangements, symphonic pieces and emotionally charged songs capture the rich texture of life in 15th century Paris. Co-Music Directors David Barrell and Ned Dixon have created their own 'place of miracles' in the orchestra pit with their extremely talented group of musicians. This difficult and relentless score is putty in their capable hands and sounds like the result of a much larger ensemble. Well done to all!
The inclusion of a 32 voice on-stage choir is one of the highlights of this production. The choir adds an extra layer of depth and emotion throughout the entire show. Act One highlights included 'Olim', 'The Bells of Notre Dame', 'God Help the Outcasts' and 'Hellfire'. Act Two's 'Entr'acte' and 'Finale Ultimo' (with its spine-tingling high C ending) received thunderous applause and shouts of appreciation, for both the hard work and excellence of the choir and orchestra! It's worth the admission price just to hear this dedicated team of singers and musicians!
The dynamic performances of the 30 strong ensemble are evident in the rousing numbers 'Bells of Notre Dame', 'Topsy Turvy', 'Rhythm of the Tambourine' and the 'Tavern Song (Thai Mol Piyas)'. However, it is the emotive vocals and well blended harmonies during the introspective numbers 'God Help the Outcasts', 'Top of the World' and 'In a Place of Miracles' that really showcases the unity and talent of this well-cast troupe.
Matthew Tomlin is well cast as the big-hearted and brave Quasimodo, the deformed bell ringer of Notre Dame. This role requires huge stamina as it is both emotionally and physically challenging. Tomlin projects Quasimodo's character with a deep sense of innocence and vulnerability, whilst showing resilience and determination in the face of adversity. His emotive tenor vocals on 'Out There', 'Heaven's Light' and 'Made of Stone' left the audience spellbound.
Ninna Aguirre plays Esmeralda, a Romani gypsy who possesses a strong sense of justice and morality and empathy towards Quasimodo. This role could have easily been written for Aguirre, who plays it to perfection! Her stage presence and voice are powerful, soulful and captivating. Her gutsy vocals on 'Rhythm of the Tambourine' unleash her full vocal potential whilst 'God Help the Outcasts', 'Top of the World', 'In a Place of Miracles' and 'Someday' show another side, ethereal and hauntingly beautiful. An award winning performance if ever I saw one!
Zak Brown portrays Claude Frollo, the manipulative, obsessive Archdeacon of Notre Dame. A similar character to Javert in Les Misérables (also written by Victor Hugo), Brown's portrayal of Frollo is multi-faceted. It gives us a rare glimpse into what Frollo could have become if he had less of a sense of duty (rising from guilt) and showed kindness and love instead. Brown's stand-out performance of 'Hellfire' literally lit up the stage, combined with the power of the ensemble and choir at his back. The audience reaction was deafening!
Tom Liszukiewicz plays Phoebus, Captain of the Cathedral Guard, with swagger and panache. His strong stage presence commands the audience's focus at all times. His chemistry with Esmeralda is heartfelt and never forced. Although a dramatic role, there are a few light hearted moments that Liszukiewicz handles with natural comedic timing. His tender vocals on the duet 'Someday' with Esmeralda add another layer of emotion to possibly the most powerful song in the musical. The lyrics convey a message of optimism about a future world free of prejudice and judgement. I'm sure there wasn't a dry eye in the house!
Pasquale Bartalotta's many years of theatre experience make him perfect in the role of Clopin (King of the gypsies) and the master of ceremonies. At the opening of the show Clopin steps out from behind the title curtain and proceeds to tell the audience a little of the intriguing story that will shortly take place, before handing proceedings over to the Greek chorus. Bartalotta's performances of 'The Bells of Notre Dame', 'Topsy Turvy' and 'The Court of Miracles' highlighted his strong vocals, quick wit and magnetic charm.
Other performances of note include Mack Williams (Jehan, Frollo's reckless younger brother), Lorraine Salvador (Florika the gypsy, Quasimodo's mother), Samuel Fung (Frederic, Lieutenant and loyal friend to Phoebus), James Oorloff (Father Dupin), Damien Calvert (Official), Candice O'Brien (Madame), Jack Lear (King Louis XI) and Basil Chippindall, who adds his powerful vocals to 'Flight into Egypt' as Saint Aphrodisius. A special mention to Laura de Iongh, Nabs Adnan and Melody Hiew (as the gargoyles) and Sam Sires, Demetrius Kiriakidis, Darcy Harriss and Liu Ijuin Lethbridge (as the statues). During the show the gargoyles and statues (attached to the bell tower) come to life in Quasimodo’s imagination, bringing him comfort through dialogue and songs. Act Two showstopper 'Made of Stone', performed by Quasimodo and his 'imaginary' friends, was a crowd favourite, receiving thunderous applause!
OSMaD's Victorian premiere of The Hunchback of Notre Dame will leave you breathless with its state of the art production, worthy to grace the largest stages in the world!
Make sure you get 'Out There' and buy tickets before the final bell tolls!
Jonathan Cox
Photos: Ben Fon
Subscribe to our E-Newsletter, buy our latest print edition or find a Performing Arts book at Book Nook.