Presented by Northern Light Theatre Company
Reviewed 4 October 2024
Let the bells of Notre Dame ring out loudly to herald in Northern Light Theatre Company’s magnificent production of The Hunchback Of Notre Dame!
Under the direction of Gordon Combes, the music direction of Matthew Rumley and the choreography of Sue Pole, plus the sheer talent of everyone involved onstage and off, this production is a stunning piece of musical theatre and is absolutely brilliant. It is simply sublime visually and aurally.
Aficionados of musicals may remember a 1998 version of Hunchback, Notre-Dame de Paris starring Tina Arena – this is not that one. This version started life originally in Berlin in 1999 under the title Disney Der Glockner von Notre Dame, based on the Disney 1996 animated film, with the songs by Alan Menken (music) and Stephen Schwartz (lyrics) and the book by James Lapine. Northern Light are presenting the revised 2014 version still with Menken and Schwartz’s songs but with additional songs and music to tie in with the new book by Peter Parnell which leans more toward the original Victor Hugo novel. Whilst the Disney version was somewhat dark, it still had cutesy elements for the kiddies. Not so with this version! It is infinitely darker and, without giving anything away, the ending is pure Hugo and not the least bit Disney (no sequel allowed here).
Combes has poured all his knowledge of directing and musical theatre into this production – it not only shows but pays off big time. The whole production is mesmerising! His set design, in conjunction with John Sheehan is dark and brooding – and mammoth. With two levels, a winding staircase, ladder, Gargoyles and a massive stained glass window, the set grabs you straight away on entry. Let’s not forget the back wall of the set made up of the members of the choir – yes, there is a choir, but more on them later. Combes uses the entire stage well, filling it at times with the entire cast but not making it seem overcrowded. His idea of having the cast present themselves to the audience at the beginning as merely players is nicely theatrical in the true Shakespearian tradition. The symbolism at the end syncing with the overall theme (‘what makes a monster and what makes a man?’) is pure genius.
Rumley’s command of the brilliant sounding orchestra is impressive as is his work with the entire cast’s vocals which are sharp and beautifully articulated, especially the choir. Pole’s choreography is extremely suitable and handled well by the cast, especially in the big numbers such as Topsy Turvey, The Tavern Song (Esmeralda’s Gypsy Dance solo is very Romany) and The Court Of Miracles. Costumes designed by Combes and Ann Humphries are colourful and very appropriate and let’s not forget the Gargoyle masks by Vincent Alexander. Ian Barge’s lighting design adds to the broodiness and atmosphere well, especially in the Cathedral scenes. Rumley, Tim Freedman and Marty Gilbert must be congratulated on the very clear audio design – yay, a show where you can hear every word and note sung succinctly.
A musical can live or die by its ensemble and this one certainly lives. Then there is the choir! This reviewer can only say WOW! I would really like to name everyone but, unfortunately, with an ensemble of 16 and a choir of 31 it’s just not possible. Suffice it to say that both involve performers who would normally be playing leads or minor leads, so good is the quality of singing. What ever you do, don’t miss the Entr’acte – it is performed by the choir in their full glory. Each member of the ensemble plays a myriad of roles and play them wonderfully.
The leader of the Gypsies, Clopin, is played by Parisya Mosel with a hint of impishness that can turn sinister at a wave of his colouful costume. He is also very agile, which is perfect for the role. The Captain of the Cathedral Guard, Phoebus is played with heroism down to a tee by well-chiselled ex-High 5 performer Robin Breugelmans (I swear I heard females swoon in the opening night audience when he made his first appearance). His voice just soars, especially when he sings the duet Someday with Esmeralda, played by his real life wife Catherine Breugelmans.
At the beginning of this year, I was very impressed by Catherine as the female lead in The Wedding Singer but she shows an even stronger side to herself as Esmeralda. There is a fiercely burning fire in her performance that brings the character to life, but also, she displays a nice softness to the character when required.
Andrew Crispe excels in what ever he undertakes on stage, but as Cardinal Frollo he reaches beyond his usual excellence and stuns as the man of God who is tortured and tormented by his prejudice against Gypsies and his lust for Esmeralda. This is a role that could so easily be overplayed, turning a lesser performer into a Bond villain. But Crispe beautifully underplays it, showing excellent control of the light and shade of his character. He is also in magnificent voice and his song Hellfire is a mighty show-stopper. This is a 10 out of 10 performance.
Another 10 out of 10 performance comes from Sam Mannix as hunchbacked Quasimodo. This is a very difficult role to carry off. The performer needs to come across to villagers as an ugly monster, whilst at the same time appealing to Esmeralda, Phoebus and the audience’s sensitivities. Mannix carries it off perfectly. He’s another performer who plays beautifully to the softer side of his character, but still manages to make his presence felt – especially in his Act One solo Out There. This is a stellar performance and it’s rare to see a performer put so much power and feeling into a role that they still have tears in their eyes at the curtain call. Brilliant stuff!
My advice is to stop reading this review and go see this production that I feel is Northern Light’s best show since their Beauty and the Beast; and what my guest described as the best professional non-professional show they have ever seen – and they’ve seen a few.
Reviewed by Brian Godfrey
Venue: Shedley Theatre
Season: Until 19 Oct 2024
Duration: Approx 2hrs 30mins including a 20 min interval
Tickets: $24 – $40
Bookings: https://nltc.sales.ticketsearch.com/sales/sales
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