The Hunchback of Notre Dame

I have been watching shows put on by Gosford Musical Society for at least thirty years and like all groups, some of their productions are better than others.  To be fair, even the premier musical societies and theatrical companies in Sydney can blow hot and cold at times.  But last night’s opening of ‘Hunchback’ really kicked GMS into another level and was the best thing that I have ever seen on the Central Coast, period.

From the very start this show had the audience captivated.  The relatively simple set doesn’t move much bit it doesn’t need to.  A mobile staircase, dramatic lighting, small scenery pieces being brought on and off very efficiently by the cast and a few suggestive pieces being flown in and out were the perfect combination.  I particularly loved the stained glass window at the back and the many colour options that it provided. The piece de resistance here though was the GMS choir providing surround sound on the balcony.  This living scenery added both visual and vocal support to the entire production in such a way that the cathedral look and sound were both outstanding.  Indeed, I have not heard such depth or richness in a choir for a very long time and certainly not in a community space, ever.  Vocal Coach and local singing teacher Vivienne McLaren should be applauded for her efforts here as well as the Choir Leader, Thayer Donaldson.  Their contributions added so much soul to the performance.  On top of that strong foundation, the actual ensemble on the stage itself was loaded with quality voices too.  The choir is very female heavy but that was compensated for on stage by the voices of otherwise leading men such as Marc Calwell, Brandon Alexander and Stephen McLaren.  When you’ve got talent like this in your ensemble you know that the show is going to be strong and that’s not to diminish the contributions of the ladies.  The standout there was Eleanor Hannan whose vocal tone and clarity were evident in numerous solo moments.

Sean Kelly takes the titular role here and he is perfect for it.  He’s not a tall man and he’s loaded with talent and embodies Quasimodo in every way.  Off stage he’s a dead ringer for a young John Leguizamo and I was excited to read that he’s a high school (presumably drama) teacher, inspiring young people to follow their dreams.  This is his first show with GMS and I would implore them to hold on to him with both hands.  His performance was flawless.  And if all of that wasn’t good enough, he’s married to one of my favourite dancers on the Central Coast, Hannah Kelly (nee Parsons).  If these two have children their progeny will be abundantly talented.

Erin Hobden has been cast as Esmeralda as she is just stunning.  She’s a triple threat who looks like a genuine Romani gypsy and has a beautiful face for the stage.  We couldn’t take our eyes off her which is exactly the kind of captivation that Esmeralda must have.  She has the stage presence and talent to go all the way to the top of the musical theatre tree should that be her dream.  Tynan Fuller is outstanding as Dom Claude Frollo and his polished performance belies his youth.  He has one of those voices that you could listen to for hours and the emotional journey that his Frollo takes us on is extraordinary for an actor so young.  I had shivers down my spine, such was the impact of his intensity.  Completing this trio is Bryn Watkeys in the role of Phoebus De Martin.  Looking older courtesy of a newly grown moustache, Watkeys threw himself into this role with all of the energy and passion required.  His vocals were strong, he has classic leading man good looks and his chemistry with Hobden was electric.  The most exciting thing about these three performers is not only how ridiculously talented they are now, but what they represent for the future of musical theatre.  They are all only in their early twenties but ready to take on the world. 

The final principal piece of the puzzle is Clopin Trouillefou, brought to life by Rob Logan.  ‘Slightly’ older than the other four leads, Logan brings an appropriate maturity to his role and manages to hold his own in a veritable sea of prodigious, young flair.  He keeps up with their energy and is a lovely father figure for the spirited Esmeralda.

The theme of gifted young people here also spills over into the production team.  Kimberly Gilbert, not yet 25, has done a magnificent job with the orchestra.  This show is much more musically challenging than a lot of the older, more formulaic scores but Gilbert has conquered this mountain and should be incredibly proud of herself.  Choreographer Finnian Alexander is cutting his teeth here and at only 20 has a very bright future ahead of him too.  I only hope that he doesn’t get boxed in as a choreographer because his dance ability needs to be showcased on stage in person as well. Jamie McKenzie is also carrying out a first here as a Director for GMS and I was thoroughly impressed by the professional pace that he maintained, particularly the seamless scene changes.  There were no clunky blackouts or noisy scenery interruptions, everything was fluid and sharp and felt like a professional show from start to finish.  Assistant Director Daniel Craig and Production Manager Sancia West no doubt made McKenzie’s job easier with their combined experience, passion and enthusiasm.

Everything about this show is first-rate.  The costumes are gorgeous, right down to the dancing girls all wearing the same flat, beige shoes which made them look like a real troupe.  (As a Director, Choreographer and performer I notice these details).  The lighting is stunning, particularly the projections on to the stage itself (i.e. the floor) and the clever imagery used at the back at a poignant moment near the end.

Perhaps my favourite thing about this show is the outstanding balance between the production values and the ticket price.  The tickets are less than $60 but the scenery/lighting/costumes/talent/audio mix and everything else could easily justify a $75 price tag.  I could hear every word so kudos to the sound crew and if I wasn’t reviewing four other things in the next two weeks I would happily go and see this show again. The only disappointment in the whole thing was that this excellent show was not being seen by a completely full house.  This show deserves a full, enthusiastic and appreciative crowd at every single performance.

I have seen an abundance of theatre in my time and have been reviewing musicals and plays for several years. Only on two occasions have I been sufficiently impressed to rate a production beyond 100% of whatever scale I am using.  One was a play by Pymble Players, Things I know to be True, which I was compelled to give 11 roses out of ten to earlier last year.  The other was the Willoughby Theatre Company production of Jersey Boys earlier this year which I rated Five Seasons out of Four.  Just like that ‘Jersey Boys’, I was hard pressed here to distinguish the difference between this amateur production and a professional show.  As stated above, this is the best thing that I have ever seen on the Central Coast and fully deserves to join the above two exceptional scorecards.

I rate this 12 bell tolls out of 10.

The Hunchback of Notre Dame will continue at the Laycock Street Community Theatre in Gosford until Saturday 9^th November.  Book now before this brilliant show disappears in a gypsy puff of smoke.

Fiona Kelly