A grand concert staging heralds the world premiere of new Australian work Quasimodo the Musical, with a full complement of soloists, choir, and orchestra allowing the score to be heard at its very best.
Completing the relatively rare triple crown of writing music, lyrics, and book, Samuel Kristy has brought new life to classic 1831 Victor Hugo novel The Hunchback of Notre Dame. Richer and darker than the well known Disney animated version, the romantic and tragic story is faithfully rendered in this new musical.
A disabled infant left on the steps of Notre Dame cathedral, “Quasimodo” is raised by Archdeacon Frollo. The lustful Frollo impels Quasimodo to abduct the beautiful gypsy Esmeralda, beginning an extraordinary bond between Quasimodo and Esmeralda that lasts until their shared tomb.
Providing a welcome opportunity to revisit the stunning interior of the Capitol Theatre, this concert season fills every square metre of the stage with artists. A contingent of 24 musicians of Royal Melbourne Philharmonic Orchestra are joined by a vast contingent of Royal Melbourne Philharmonic choristers and an appealing set of highly talented lead singers.
Expert sound design by Marcello Lo Ricco ensures the lush sound is beautifully balanced so that the sweeping arrangements of Hamish Ander can be fully appreciated. Maestro Andrew Wailes, serving as musical director and conductor, brings the sumptuous music to life with a precision that belies the newness of the work.
Each of Kristy’s songs are enjoyable and immediately accessible, if a little hard to distinguish at first listen; a reprise in the finale does, however, leave a hummable tune in the romantic duet “Could You Ever Love Me?”. Soaring solo numbers abound, tempered by lighter comic songs such as “Pick That Little Pocket,” in which poet Gringoire trains as a thief and “Lady of the House,” a sly subversion of “Master of the House,” featuring Paul Hogan as colourful landlady Madame Falourdel.
While program notes for Quasimodo the Musical are very thorough, the concert is presented with neither narration nor captions. In the absence of the spoken dialogue, this does not support audience understanding beyond a fairly superficial level.
The cavalcade of power ballads in act two are sung with full heart and yet the emotional impact is not fully realised because the stakes are not clear. Each of the 30+ numbers is accompanied by a projected image, providing a sense of location. These attractive images aid the context but on their own do not provide sufficient information to tell the story.
These issues may have been corrected with the input of a director; nonetheless, the music can be readily enjoyed on its own merits.
The generous complement of musicians and singers are a spectacle in their own right, with richly coloured lighting by Jason Bovaird providing added visual appeal. The mind-boggling number of lighting cues provides ongoing interest, with Bovaird dynamically lighting not just the stage space but also the stunning white textured ceiling of the Capitol.
The nine lead singers give their all to the new work, their acting through song elevating the concert performance. Being mostly off book allows the singers to readily express their characters and engage with the audience.
The lead cast is well matched and yet it must be noted that Joshua Robson emerges as a clear standout as Quasimodo, his wonderfully warm baritone pouring forth in luxurious and richly expressive tone. A late I wish song, “I Must Be Me” is a highlight of act one from Robson, with “Immortal Is Our Love” a standout of act two.
A terrific stage partner for Robson, Enya Angel brings a beautifully soulful voice to Esmeralda in numbers such as “Will I Ever See You Again?”. Given Angel’s background in dance, it is hoped that she will have the chance to play Esmerelda in a fully staged production.
Des Flanagan plays against type as insidious cleric Frollo, drawing upon a darker tone of his sweet tenor voice.
Ben Clark newly distinguishes two key roles, giving poet Gringoire a tender melancholy and giving traditional romantic lead Captain Phoebus a hearty bravado. Michael Lampard successfully colours thief Clopin a suitably sinister edge.
Always great value, Fem Belling plays three roles here, neatly crafting a broad contrast between the key roles of saucy temptress Devilina and kindly retired nun Sister Gadule.
While Quasimodo the Musical has more work ahead to reach its full potential, the opportunity to hear the beautiful music in this world premiere concert presentation augurs well for its eventual future as a fully staged musical.
Quasimodo the Musical in concert plays at Capitol Theatre, Melbourne until 22 September 2024. For tickets, click here.
Photos: Ross Green