Hamilton Operatic Society is back with its first full-length musical since Chicago in 2021 and it’s a banger. This production brings well-known Disney songs and beautiful new material, including ecclesiastical Latin.
At its centre is a firm focus on the human condition, love, power and morality and, in this, it more closely references the Victor Hugo novel.
It has a large cast of 35 directed by David Sidwell, over 25 musical numbers, a full orchestra under Nick Braae, and a stage full of lively action and dance courtesy of choreographer Simonè Duvenage.
The show has many familiar Disney numbers, including The Bells of Notre Dame, Sanctuary, Out There, God Help the Outcasts and The Court of Miracles, alongside the newer compositions.
The director’s notes outline the differences in this adaptation, noting a clear move into character complexity.
The themes expressed though the treatment of Quasimodo (Alex Pelham-Waerea), Esmeralda (Jessica Ruck Nu’u) and the gypsies, led by Clopin Toruillefou (Moshe Merz), have us thinking about the marginalised underclass and the power of the ruling elite.
There are also ideas about what good really means, revealed through Dom Claude Frollo (Scot Hall) who battles with what is right, and what is righteous, and Captain Phoebus De Martin (Felix Rowe), trained to be loyal, yet conflicted by love.
All five principals are excellent. Scot Hall’s Frollo grows in stature and power, his voice imbuing softness and care, as well as anguish and venom. The last full-length musical I saw Hall in was Mary Poppins where he was brilliant as Mr Banks.
He is equally so here, in full command of his voice and the character arc of Frollo, his performance becoming increasingly dramatic with highly charged whispers and menace as he descends into murky moral territory.
Jess Ruck Nu’u has stepped capably into the lead role of Esmeralda, conveying a genuine warmth and emotion alongside her impressive singing and dancing. Ruck Nu’u has been building her career with larger roles and this is an excellent match for her.
Alex Pelham-Waerea as Quasimodo was gentle and strong, his hesitations and deafness (a nod to the book) belying a strength both physical and mental. His interactions with the statues serve as a clever interior monologue and dialogue for the progression of the narrative. Pelham-Waerea is very likeable in this role.
Moshe Merz was a treat as gypsy king Clopin Trouillefou, all bright eyes and buzz, he is just exciting to watch and listen to. Felix Rowe as Captain Pheobus De Martin plays above his age as the head of the guard, showing the bravura of the soldier, alongside the softness of a man in love.
The depth and talent in the cast is obvious, with an alternate cast of some leads performing designated shows.
Check Hamilton Operatic Facebook page to see the following performers take their turn; Hannah Doherty (Esmeralda), Jonathan Hawthorne (Quasimodo), Eckard Becker (Captain Phoebus de Martin), Marangai Wainohou-Savage (Jehan Frollo), and Noah Fortuin (Frederic Charlus).
A fun turn as King Louis XI gives the immensely likeable Iosia Tofilau some laughs, and Courtney Mayall (Madam) and Noelle Savill (Florika) are very strong.
The show has huge energy, and there’s a lot of story to take in. Every member of the congregation (be they gypsies, townsfolk, dancers, statues or monks) is engaged and contributing to the action.
Scot Hall as Dom Claude Frollo. Photo / Mark Hamilton
At times, I followed actors as they completed solo lines and rejoined the congregation and every minor interaction held focus – terrific stagecraft and attention to detail.
The show reveals the story and themes through dialogue as well as cast member directly narrating to the audience, a device that works well as we’re challenged to reflect on what humanity is.
Mood and atmosphere are established from the outset with a striking set, the focus on the iconic cathedral window above the stage and supported by masses of fog and atmospheric lighting.
It is both detailed in its execution and unapologetically representative. Church pews and balustrades transform into battering rams and jail cells as the cast carries the emotion and intentionality of each scene.
The ecclesiastical music is soaring and powerful and at times I just closed my eyes as the voices and music washed over the auditorium. The choir is outstanding.
The choir leads a song in the Hamilton Operatic Society production of The Hunchback of Notre Dame. Photo / Mark Hamilton
All are accomplished singers and musicians, and it shows. While their power in the company songs was excellent, their ecclesiastical singing at the start of Act 1(Olim) and Act 2 (Agnus Dei), as well as the menace of Judux Crederis was goosebumps territory for me.
Fittingly, people stood to acknowledge the cast after the Finale Ultimo, before rising again after the cast had left to acknowledge the outstanding musical performance of the orchestra.
The heightened emotions of the final scenes were sustained as we spilled out into dense evening mist.
Driving home, deep fog suffocated the beams of the streetlights and oncoming cars and the moody atmosphere seemed rather apt as we reflected on the themes and performances.
