The Hunchback of Notre Dame

Northern Light Theatre Company’s production of The Hunchback of Notre Dame has set the amateur musical theatre bar to Olympic standards and as Mary Poppins says – it’s “Practically perfect in every way!”

Originally a book by Victor Hugo, published in 1831, Lon Chaney immortalised the title role in the 1923 silent film. With the advent of the talkies, Charles Laughton (also well known for playing Henry VIII) made the role his own in 1939.

Its latest incarnation is a musical with music by Alan Menken and lyrics by Stephen Schwartz, adapted from the Walt Disney Animation Studios' 1996 film of the same name. It was produced by Disney Theatrical Productions, being the company's first musical to premiere outside the United States, and ran for three years, becoming one of Berlin's longest-running musicals.

The English-language version, with a revised book by Peter Parnell, had its debut at La Jolla Playhouse in San Diego, California on October 28, 2014

Based on the Victor Hugo novel and songs from the Disney animated feature, The musical showcases the film’s Academy Award-nominated score, as well as new songs by Menken and Schwartz. Peter Parnell’s new book features verbatim passages from Hugo’s gothic novel.

The story follows Quasimodo, a deformed man taken in by Dom Claude Frollo, the arch deacon of Notre Dame cathedral, as an infant. Due to his deformed appearance, Quasimodo is forced to remain inside the Notre Dame cathedral for his entire life, until meeting a girl named Esmeralda, who inadvertently becomes the target of Frollo's lust and genocidal mission to eliminate all Romani people in France. It’s up to Quasimodo to save her and Captain Phoebus who also loves her.

Director Gordon Combes, well known in Adelaide for his high-quality productions, has crafted a gothic rendition of this classic, retaining all the pathos and comedy of the Disney film and highlighting the plight of a person who is ‘different’ and his struggle to fit into society. (A theme not lost on today’s audiences) Thanks to Combes, the cast know their material well and tug at the heart strings of every audience member bringing this classic to life.

Combes sets his production on a two-level unit set (designed by Combes and John Sheehan with scenic design and art by Brad Mundt and Damon Hill) ‘peopled’ by 2 life sized gargoyles, and under a stunning central stained-glass window lit by Ian Barge and Tom Lloyd. Special mention should go to Combes and Anne Humphries for the costumes and masks, outstanding work!

Musical Director Matthew Rumley conducts a 20-piece orchestra that excels. Every note is perfect as are the vocals, whether they come from the 32-person choir, the ensemble or the principals. The production is an aural feast!

While not a dance show per se, Sue Pole’s choreography is true to the period, well matched to the cast’s abilities and highlights the story.

Sam Mannix has a mountain to climb (figuratively) and does it with ease. We feel his every heartache and long for him to be treated as a normal person. His tenor voice fills every crevice of the Shedley Theatre. His scenes with Esmeralda are gut wrenching. ‘Out There’ and ‘Heaven’s Light’ are highlights.

Andrew Crispe is equally at home in opera as he is in musical theatre. He is the ultimate villain with a rich velvety baritone voice that anchors his character and adds to his sinister nature. His ‘Hellfire’ is an audience favourite and deservedly so. This role is one of Crispe’s greatest creations!

Catherine Breugelmans’ Esmeralda is the voice of wisdom as she negotiates three men who are in love with her, torn between her love for Captain Phoebus, her revulsion for Frollo, and her pity for Quasimodo. Her ‘God Help the Outcasts’ with Quasimodo is exquisite as are her love scenes with Phoebus. (Her real-life husband)

Robin Breugelmans’ Captain Phoebus is the perfect ‘Disney Prince’. He gives us the ideal combination of comedy and romance. His duet with Esmeralda, ‘Someday’ is a highlight as is his comedy scene with Quasimodo hiding in a window seat.

Parisya Mosel’s Clopin, the host of the Feats of Fools gives us the people’s perspective throughout the musical and provides lightness to the story when needed.

The ensemble works cohesively playing multiple characters – gypsies, townsfolk and gargoyles to name a few. The ‘Feast of Fools’ and ‘Court of Miracle’ scenes feature some fine character work.

The choir, patiently sitting (or standing) in the cloisters of Notre Dame add the necessary gravitas to the big scenes and give the musical the rich sound it needs. They provide the ever-present eye of the Church looking down on the proceedings.

On a side note, the FOH staff and cast are to be congratulated for dealing with a medical emergency in the audience early in act one in a well organised way. Hopefully the audience member will recover and return to see the rest of the production.

The Hunchback of Notre Dame is an outstanding piece of musical theatre that will live in the hearts and minds of the cast, production team and audience for a long while, bravo Northern Light!

Barry Hill OAM

Photographers: Kim Abbott, Eloise Atterton, Liliana Carletti, Tegan Gully-Crispe and Nathaniel Mason