Review by David Gardette
Quasimodo – The Musical (The Untold Story of the Hunchback of Notre Dame)
Considered a classic of French literature, Victor Hugo’s 1831 Gothic novel, Notre-Dame de Paris 1482 (Our Lady of Paris), not only captures the imagination with its inventing of dark and intriguing characters but also serves as an homage to the significance of French Gothic architecture. An advocate for the preservation of France’s historical landmarks, it can be argued that Hugo’s main character is the foreboding Notre-Dame Cathedral which features extensively throughout the novel. In 1833 English author Frederic Shoberl translated Hugo’s novel, publishing under the title we are most familiar with today, The Hunchback of Notre Dame, spawning many adaptations – from Lon Chaney’s 1923 silent film, two ‘speakies’ in 1939 & 1956, to the Disney 1996 animated feature.
Set in 1482 Paris, employing an intricate and wildly twisting storyline, The Hunchback of Notre Dame tells the ill-fated story of Quasimodo, the bellringer of Notre-Dame and the Roma Gypsy dancer, Esmerelda, and a tangle of other larger than life characters and love interests, Claude Frollo the rather morally flawed Archdeacon, the handsome and emotionally torn Captain Phoebus.
The complex story of abandonment, banishment, isolation, lust and jealousy, unfolds with a rich stew of characters that include a struggling writer, a king of thieves, scoundrels, beggars, a vengeful fiancé, an embittered (understatement) retired nun, an imp, a diva, a boisterous innkeeper and yes, a pet goat!!!
It is a soaring story to match the Cathedral’s Gothic architecture, almost Shakespearean in twists, and with an ending that has many fallen, we learn that “their Spirits that are finally free”.
This gives just a glimpse of the incredible task Samuel Kristy has undertaken to harness the drama and bring this locally written Quasimodo musical to the stage. A self-taught musician, composer and writer, the enormity of Kristy’s achievement is impressive. Boasting 31 songs, this is an obvious passion piece with original music, lyrics and script all written by Kristy. With orchestrations by Hamish Ander and featuring a significant score and some wonderful songs, the musical is substantial, overwhelmingly nearly, in both its sound and range – which perhaps could benefit from a touch of subtlety, light and shade and an edit or two. But the score is wonderfully executed by the Royal Melbourne Philharmonic. Under the skilful command of conductor and MD Andrew Wailes, both the orchestra and choir expertly manoeuvred the often-complex score filling the enormous Capitol Theatre with a full, rich sound.
Being a concert version, story progression is all too important, and unfortunately this was a challenge. Without dialogue or narrator to link the progression of songs, and although the use of projections was effective in setting location, they did little to advance the understanding of the complex storylines. There was notable scrambling through programmes, when light permitted, to read the well written song synopsis provided. It is a shame, as it did distract from being able to fully immerse in this new musical offering.
In the role of Quasimodo, Joshua Robson shines. His richly textured baritone is intense and moving – his stunning vocal easily fills the room in this challenging role. As Esmerelda, Enya Angel brings a lovely vocal warmth; Ben Clark’s Captain Phoebus is wonderfully bold and vocally superb, while Des Flanagan as antagonist Frollo is convincingly sinister. Michael Lampard (Clopin king of Thieves), Fem Belling (Sister Gadule), Sean Hutton (Jehan) Julee Johnson (Fleur Di Lis) and Paul Hogan (The Lady of the House) round out this fine principal cast.
It is always a thrill to experience a new work, witnessing something that has been someone’s, or a team’s labour of love come to fruition. Hopefully we get to experience Quasimodo in its full glory at some stage in the future as it really has the potential to be a wonderful theatrical experience.
Photo credit: Ross Green
