Hills Musical Theatre Company: The Hunchback of Notre Dame - Review by Corina Thompson

I was so excited on Friday, 7 November to be attending the opening night of The Hunchback of Notre Dame, produced by the Hills Musical Theatre Company. It is my favourite musical because of the amazing score by Alan Menken and the heartfelt lyrics by Stephen Schwartz — and who doesn’t love a Disney film adaptation? But the main reason is that while I have been in the show, I have never seen it live.

Photos courtesy of Grant Leslie

With fingers crossed that it would be as brilliant a show as possible in the school auditorium of Model Farms High School, Baulkham Hills, I found my seat at table nine, right in the middle of the basketball court. Cabaret-style seating, eight chairs around a table, bring your own snacks and drinks or purchase them at the kiosk — lovely.

The auditorium was packed for opening night; the orchestra pit in front of the stage was big enough for the conductor and the twenty musicians warming up — great, a live orchestra adds so much atmosphere. This was the first show I had seen by this company, so I didn’t know what to expect, but I looked at the beautiful painted backdrop of Notre Dame (well done, Michael Haratzis et al.) with its unique rose window and felt like I was there. The magic was about to begin…

As the haunting music of “Olim” began, and the ethereal voices of the choir started to sing, I was in that stage cathedral once more with its incredible stained-glass windows, soaring roof, huge pillars and the belfry wherein dwelt Quasimodo, the tragic hero of the story. The choir numbered only twelve but they filled the space with ease; the congregants each had their own character and interacted with Quasimodo like friends. The musicians were excellent and brought the score to life under Peter Thornton’s skilful baton. The audience was hushed as if transported to the 14th-century cathedral of Notre Dame, Paris.

Excellent use was made of the small stage space, and the steps were regularly moved with great effect to show the different scenes. The ensemble gathered in front of the orchestra pit, which was the perfect way to increase the area of action as showcased in the gypsy scenes. Clever use was made of the lighting effects, especially in the song “Hellfire” and the witchcraft scenes.

Photos courtesy of Grant Leslie

I was especially impressed by Emily Taylor’s choreography, whether on stage or in front of the orchestra pit. So much was going on: the dancing was very tight, and the amount of movement was incredibly well planned. The gypsy ensemble was very enthusiastic in their dancing, singing and acting roles, and I thought the choreography in “Topsy Turvy” was brilliant.

Photos courtesy of Grant Leslie

Time to talk about the leads in the show — all extremely well cast and totally believable in their roles. Andrew Schwimmer as Quasimodo showed his versatility in this complex role, moving from subservient to excited, comic to tragic, hopeful to distraught. Schwimmer excelled in this demanding and challenging role. Simon Buchner as Dom Claude Frollo expertly showed both sides of his character, from the commanding demeanour of his role in the church and as guardian to Quasimodo, to his lecherous feelings for Esmeralda. His voice and commanding presence made him the perfect villain.

Aya Adel was very sassy as the gypsy outcast, with sultry dance moves and flirtatious looks. No wonder both Frollo and Phoebus could not resist her charms! She performed with the mix of warmth and vulnerability needed to bring Esmeralda to life. Lenard Chang as Captain Phoebus de Martin played the soldier and the lover with equal ease. He was charming and brought the dashing swagger that makes the role the romantic lead. Finally, James Waters as Clopin was a lively king of the gypsies, bringing humour and lightness to the stage as well as brilliant vocals.

Photos courtesy of Grant Leslie

To conclude, I would like to mention my favourite musical moments in this spectacular show. The gentle mood of “Top of the World” showed the innocent hope felt by Quasimodo, and the duet with Esmeralda was very touching. “In a Place of Miracles” highlighted beautiful harmonies and doomed relationships perfectly. “Someday” was an exquisite duet by the tragic lovers Phoebus and Esmeralda. “Made of Stone” was full of yearning, highlighting Quasimodo’s anguish, which was brought to an incredible climax by the orchestra in the “Finale Ultimo”.

What makes a show like this so amazing? The score, the lyrics, the story, the acting, the singing, the dancing — all of these are necessary — but there also has to be a vision by the director, and Luke Derrick and Assistant Director Hannah Aouchan, obviously had that. Congratulations to everyone involved with the show — I loved every second.