The Hunchback of Notre Dame
at Sir Wilfrid Laurier Secondary School

Reviewed on March 5, 2020

NameSchoolPublication/Broadcasts
St. Joseph High School
Ottawa Citizen #1
St. Francis Xavier High School
Ottawa Citizen #2
Glebe Collegiate Institute
Ottawa Citizen #3
A.Y. Jackson Secondary School
Ottawa Citizen #4
Holy Trinity Catholic High School
Ottawa Citizen #5
All Saints High School
Ottawa Citizen #6



Natasha Baldin
St. Joseph High School

Submitted for publication to Ottawa Citizen #1

Picture the majestic Notre Dame Cathedral as it towers over the city of Paris. Hear the mighty bells resonating through the streets. From the bell tower, one can see everything; the big picture instead of the small details. In Sir Wilfrid Laurier Secondary School's production of The Hunchback of Notre Dame, using this metaphor of the Cathedral looming over the city, the cast and production team showed the dark contrast between the powerful and the powerless.

Based on the novel written by Victor Hugo in 1831, this gothic musical takes place in fifteenth-century Paris. Overlooking the city is the grand Notre Dame Cathedral wherein lies the bell tower that Quasimodo calls home. Frollo, his master, forbids Quasimodo from going out into the city, fearing that society will scorn him for his deformities. In his loneliness, Quasimodo decides to go against his master's commands and ventures out into the city of Paris during the Festival of Fools; the only time where outcasts are permitted inside the boundaries of the city. While in the city, Quasimodo meets Esmeralda, who looks beyond his startling appearance and sees the gentle soul inside. Little do they know, their journey to protect the powerless will be filled with forbidden romances and brutal consequences on the way to self-discovery.

The outstanding vocals from the entire cast melded perfectly with the incorporation of many different styles of choreography to make this a multi-dimensional performance. The exceptional work from the production team made for an immersive experience into the streets of fifteenth-century Paris.

Playing the role of Quasimodo, Emmett Duby truly stepped into this physically and emotionally demanding role. Using hopeful inflection and child-like facial expressions, Duby was able to naturally express Quasimodo's earnest curiosity for what lay beyond the bell tower. As the plot progressed and his character was exposed to some of the horrors of the outside world, Duby conveyed this loss of innocence hauntingly, most notably during his moving performance of "Made of Stone". Duby perfectly mastered Quasimodo's unique speech impediment; his talent was clear through his ability to maintain this speech pattern while still enunciating his words very clearly. In the role of Frollo, Quasimodo's strict and religious master, Philip Lukic adopted his character's authoritative mannerisms with ease, towering over Quasimodo to show his control. During his emotional performance of "Hellfire", Lukic unleashed his powerful vocals to portray his character's internal struggle between desire and despair as he yearned for a forbidden romance.

The Saints and Gargoyles were an impressively cohesive ensemble, adding to the power of many musical numbers with their background vocal support. Staying as still as statues for long periods of time must not have been easy, but they never wavered. Their transition from inanimate statues into Quasimodo's lively friends in the bell tower was flawless. Gavin Furlong in the role of the statue of Saint Aphrodisius displayed his amazing vocals during "Flight Into Egypt", beautifully combining his powerful voice and storytelling abilities.

Rest and ReCREATION designed immaculate sets, clearly identifying the location of every scene. They paid immense attention to detail when re-creating the nature of this gothic time period. With the creative use of towers on either side of the stage, they allowed perspectives from the bell tower and from the city to be displayed at the same time. By lowering and raising bells, the set team was able to clearly differentiate between the bell tower and the city settings.

Haunting, heart wrenching, and captivating, the hard work and dedication of the cast and production team at Sir Wilfrid Laurier Secondary School provided for an unforgettable evening.



^ top



Isabella MacKay
St. Francis Xavier High School

Submitted for publication to Ottawa Citizen #2

The monsters of this world flourish behind the mask of beauty and authority, while the virtuous confined in damaged bodies are ostracized. This unfortunate axiom continues to plague society, but the students of Sir Wilfrid Laurier Secondary School challenged this idea in their captivating production of The Hunchback of Notre Dame.

This musical adaptation of The Hunchback of Notre Dame consists of songs from the Disney film, but remains true to the original dark and gruesome Victor Hugo narrative. In fifteenth-century Paris, the righteous Frollo, archdeacon of the Notre Dame Cathedral, is burdened by the deformed and orphaned infant, Quasimodo. Years later, Quasimodo is desperate to experience the world outside of the cathedral's walls and Frollo's abuse. He ventures into the streets and meets Esmeralda, a young, empathetic Romani woman. However, their unlikely friendship is threatened by Frollo's anger at Quasimodo's defiance and his untamed desire for Esmeralda. The Hunchback of Notre Dame is a tale conveyed through powerful songs about the prejudices people face and the desperate actions humans will commit to uphold their beliefs.

The cast of Sir Wilfrid Laurier Secondary School's The Hunchback of Notre Dame consisted of adept actors, singers, and dancers. Their skills were masterfully displayed in large numbers such as "The Bells of Notre Dame" with emotions clearly etched across the cast members' faces, melodic execution of layered vocals, and dynamic choreography.

Emmett Duby created a Quasimodo easy to sympathize with through his continuously hunched gait and strained lisp, demonstrating the character's determination to speak despite his disability. Philip Lukic captured the sanctimonious nature of Frollo with his ability to switch between empathetic facial expressions to sinister grins. Duby and Lukic were both excellent vocalists with wide ranges, rich tones, and the ability to convey emotion through song. Zoey Rowberry passionately and persuasively played Esmeralda. This was evident when she cried with anger to stop Quasimodo's harassment from the townsfolk.

Jameel Ferzli portrayed Phoebus with a nuanced physicality that grew more reserved as he transitioned from the swashbuckling soldier to a traumatized lover. The ensemble of actors playing the Saints and Gargoyles excelled at remaining expressive while in tableau and created beautiful harmonies while singing, especially in "Made of Stone." Emily Bordeleau portrayed the character Madame with a fiery intensity through each callous grimace and commanding vocal solo.

The compelling vocalists were supported by a devoted and skilful Sir Wil Pit Band that flawlessly transitioned between different keys, tempos, and dynamics, despite the extremely challenging score. The student musicians heightened the emotion of each scene with thoughtful musical phrasing, such as the skilful striking of tubular bells to capture the authentic tone of clanging church bells. The set resembled the gothic architecture of Notre Dame, with the towers appearing to be carved of stone through the textured and shadowed painting. The set was versatile, with an elaborate pulley system being used to seamlessly lower the bells onto the stage, transforming the town square into the bell tower. The hair and makeup designers were dedicated to accurately portraying Romani culture with the unique pieces of cloth woven into the females' hair.

Through the emotive, talented performances, and the artistic innovation of the crew, Sir Wilfrid Laurier Secondary School's production of The Hunchback of Notre Dame was powerful and poignant. The students beautifully conveyed that humans are not made of stone; they are made of things even stronger, such as compassion, perseverance, and curiosity.


^ top



Alexa MacKie
Glebe Collegiate Institute

Submitted for publication to Ottawa Citizen #3

In a world where a monster could easily be disguised as a man, and the face of a monster can hide the kindest of souls, appearances play a major role in prejudice and societal standards. Sir Wilfrid Laurier Secondary School's performance of The Hunchback of Notre Dame explored this idea and more, in a thoughtful retelling of a timeless classic.

Based on Victor Hugo's novel, with music by Alan Menken, lyrics by Stephen Schwartz, and book by Peter Parnell, The Hunchback of Notre Dame tells a story of inner-beauty, love, and justice. Quasimodo is confined to the walls of the Notre Dame Church by his uncle, Frollo, where his disfigured face is hidden from the outside world filled with the likes of gypsies and townspeople. When Quasimodo ventures beyond the church, he meets and becomes entranced by the elegant gypsy, Esmeralda, who also catches the attention of Phoebus, a Notre Dame Cathedral Guard. However, Esmeralda turns into the subject of Frollo's lust, which causes her to be caught in a web of his malicious actions.

Sir Wilfrid Laurier Secondary School's rendition of the undying tale was masterfully executed. The actors gave skilful vocal and dramatic performances, specifically in ensemble songs including "Finale Ultimo" and "Bells of Notre Dame." A variety of costumes were used in establishing setting and social status, while lighting complemented the atmosphere and moods of the plot. The Sir Wil Pit Band consistently supported vocalists, yet never took away from what was seen on stage, giving the show a whimsical atmosphere.

Emmett Duby portrayed the gentle Quasimodo with a flawless balance between childlike and desperate. His wide range of emotion allowed him to be giddy with joy, then immediately succumb to sorrow with bitter pain. Duby's steady singing voice never faltered, and his soft trembles or spiteful sneers accurately described how his character was feeling. Zoey Rowberry played Esmerelda with dazzling grace and consistent confidence, such as when she did a captivating tambourine dance with twirls and flourishes across the stage. Her vocal performances were well polished, particularly as she harmonized in duets like "Top Of The World," and "In a Place of Miracles".

Equally as riveting, Philip Lukic intensely portrayed the cruel and sinister Frollo. His fierce grumble and piercing facial expressions accurately conveyed his character's spiteful intent, noticeably in "Hellfire", as his singing voice dipped into a lower range. Jameel Ferzli as the valiant Phoebus was naturally nonchalant thanks to his exuberant stage presence and wide-sweeping hand gestures. The large ensemble numbers, such as "Bells of Notre Dame" and "Finale Ultimo", were expressive and poignant, thanks to the cast's ability to fit harmonies together with a large vocal range.

The time-period appropriate costumes established the setting of Paris in the 1800s, as well as highlighted character: the gypsies were dressed in loose, flowing clothing that matched their wild demeanour, while Frollo wore sophisticated white robes that represented authority. The contrast in lighting of reds and blues channelled the moods of the story, from the fiery dance in the Tavern, to the eerie darkness during "Bells of Notre Dame." The Sir Wil Pit Band performed seemingly effortlessly throughout various tempo and stylistic changes. The colour of a flute floating above the melody, or zealous build-up of drums accompanied the actors without overpowering the vocalizations.

The Hunchback of Notre Dame performed by Sir Wilfrid Laurier Secondary School blended well-executed technical aspects, as well as skilled musicians and actors, to deliver a classic story of loneliness, appearances, and the highs and lows of love.


^ top



Tasnim Musanna
A.Y. Jackson Secondary School

Submitted for publication to Ottawa Citizen #4

A monster, hidden from the world, deformed and hideous. A loyal soldier, wishing for a fresh start. A Christian cleric, orphaned and abandoned by his brother, with a dark side. And a beautiful gypsy, turning the lives of these three men upside down. Victor Hugo's novel came to life with Sir Wilfrid Laurier's emotionally chilling production of The Hunchback of Notre Dame.

Diving straight into 1482, the play is set in Paris, with Quasimodo, the hunchback, living in the bell tower of Notre Dame. Quasimodo is forcibly sheltered from the world and has a dull life, but longs for more. The perfect opportunity arises when, once a year, the gypsies are permitted to roam the streets. Quasimodo joins their festivities, grateful for the distraction. There, he meets Esmeralda, whom he immediately falls for. She is a compassionate gypsy girl, who sees Quasimodo for what he is, a kind soul. However, Esmeralda sets her sights on Phoebus, a handsome soldier. But this love triangle is pushed aside when Frollo, the church's cleric, has a violent crush on this gypsy girl, and starts a headhunt to find and capture her. Pushing aside their differences and working together, Quasimodo and Phoebus vehemently try to save Esmeralda and the rest of the unfairly desecrated gypsies. The Hunchback of Notre Dame exquisitely depicts themes of moralities, love, hate, and injustice.

Emmett Duby, who played the humble Quasimodo, used small, but noticeable details to make his performance riveting. Expertly delivering his lines and flinching whenever others raised their voices, his outstandingly realistic portrayal left the theatre heartbroken and deeply feeling the emotions and internal conflicts his character was going through. Philip Lukic's performance of Frollo was captivating. Although it is extremely difficult to play such a complex character, Lukic did it with ease. His exceptional voice depicted Frollo's twisted reasoning in a stomach-churning manner.

Phoebus was played by Jameel Ferzli, an enthralling actor with an even better voice. He easily projected his emotions to the audience with his marvellous singing. He complemented his witty character with his admirable comedic delivery.
Jessica Goyette's depiction of Clopin was engrossing. Goyette's complex dance moves embodied her character's sass in an unforgettable manner.The rest of the characters had amazing stage chemistry, filling the room with their vibrant energy. In "Topsy Turvy", they worked together to dance, sing and holler. They plunged the audience into the festive streets of Paris; their liveliness was infectious. The Saints and Gargoyles ensemble was gripping. The way their voices blended together in a haunting harmony provided a bone-chilling experience.

The live-orchestra accompaniment was vital to the show. It made all the tragic moments much sadder, and all the exciting moments much happier. Guiding the theatre's emotions, the orchestra perfectly harmonized with the actors' singing and lines. Although temporarily the actors' microphones would stop working, the artfully placed tech details completely made up for it, for instance, the "smoke bombs" that Esmeralda used whenever she needed to make a quick get-away, or the bells that majestically lowered down from the ceiling whenever Quasimodo needed to ring them.

This production of The Hunchback of Notre Dame was spellbinding. It taught a lesson about morals, and how the kindest people can hide behind the most monstrous of faces.


^ top



Irina Hawryluck
Holy Trinity Catholic High School

Submitted for publication to Ottawa Citizen #5

Church bells were ringing with Sir Wilfrid Laurier Secondary School's production of The Hunchback of Notre Dame. From deep in the dark streets of Paris to the top of a majestic cathedral, the cast and crew enchanted the stage with a joyous and enthralling performance.

Set in 15th century Paris, France, The Hunchback of Notre Dame tells the story of the young, deformed Quasimodo. Spending his whole life on the roof of Notre Dame Cathedral and growing up cut off from society, one day Quasimodo decides to leave his little home, only to fall in love with the beautiful dancer Esmeralda. Yet with two other men also fighting for her affections, and rising tensions between the gypsies and the people of Paris, this story quickly takes a dark turn. Based on the 1831 French gothic novel of the same name by Victor Hugo, and later adapted into a beautiful movie by Disney in 1996, The Hunchback of Notre Dame remains to this day a classic known for its message of tolerance and sophisticated themes.

With energetic songs and a beautiful set, the students of Sir Wilfrid Laurier Secondary School took on the difficult task of bringing this cultivating musical to life with amazing enthusiasm. As the show went deeper into the dwellings of France and explored more mature themes, the cast and crew still managed to keep a light and lively tone to their performance. With fun dances and captivating music, the ensemble depicted their refined roles with amazing attention to detail.

Emmett Duby shone in his role as Quasimodo, truly capturing the innocence and emotional depth of his character. He truly embodied his art as the notorious Hunchback throughout the performance. Exhibiting his amazing strong voice in songs like "Top of the World'' and "Made of Stone", he made the show a spectacle to see. The role of Esmeralda was portrayed by Zoey Rowberry with grace. Her chemistry with all of the other characters was evident, as she led the rest of the cast through an amazing production.

Other highlights included Jameel Ferzli's marvellous rendering of the confident and lovable Phoebus De Martin. With amazing physicality and plenty of thrilling emotions, he made a heart wrenching performance as the strong, rebellious captain. Philip Lukic took on the tough task of depicting the tortured priest, Dom Claude Frollo. With a magnificent voice, great emotions and wonderful expressions, he was always a joy to watch on stage. Gavin Furlong shone in both of his roles as Jehan, the troublesome brother to Dom Claude Frollo and as the beheaded Saint Aphrodisius, as he always added joy and laughter to the more difficult scenes.

The Sir Wil Pit Band utterly captured all the beautiful music that accompanied the actors on stage. Always in time with an amazing tone, these students allowed the sound to get better and better throughout the performance. The lighting and set teams transported the audience into the streets of Paris as they set up each scene with a great mood. The choreography by Emilie LePage-Bourbonnais, Cynthia Kennedy, Kezia Loucks and Jameel Ferzli added depth and vigour to every song as it depicted many different styles.

Sir Wilfrid Laurier Secondary School took the demanding task of The Hunchback of Notre Dame in stride as they put on a rapturous and energetic performance. A journey full of a beautiful and amazing message left us all wishing to be on top of the world at Notre Dame.


^ top



Julia Piraszewska
All Saints High School

Submitted for publication to Ottawa Citizen #6

What makes a monster and what makes a man? As the "Bells of Notre Dame" sang out across Paris and the city bustled with life, the outcast and the holy man flipped stereotypes, proving that looks are not what define a person. Sir Wilfrid Laurier Secondary School transformed the theatre into the historic 15th century with their enchanting production of the classic The Hunchback of Notre Dame.

Based on a timeless tale, The Hunchback of Notre Dame was originally written by Victor Hugo in 1831 and later adapted by Disney in 1996, with music composed by Alan Menken. The musical, set in the heart of 15th century Paris, follows the story of a young deformed bell-ringer in the towers of Notre Dame named Quasimodo. Quasimodo longs to one day go "Out There" and attend the Festival of Fools, but his guardian, Dom Claude Frollo the archdeacon of Notre Dame, forbids him. Quasimodo disobeys him, and later meets Esmeralda, a kind-hearted and gorgeous gypsy who helps him. Meanwhile, Frollo desires to rid the city of gypsies with Captain Phoebus De Martin as his right-hand man. Yet, Frollo's efforts go to waste and cause tragic consequences for him and others.

The Hunchback of Notre Dame called for a serious and suspenseful performance with booming vocals, and Sir Wilfrid Laurier Secondary School without a doubt delivered. Through many dazzling musical numbers, the production showed off their beautiful choreography and stunning vocal range. From the moment the show began to the final bows, Sir Wilfrid Laurier Secondary School set an intensely captivating and gothic atmosphere that truly transformed the theatre.

The disfigured outcast, Quasimodo, was portrayed with immensely genuine physicality and a large variance in emotion by Emmett Duby. Duby not only showcased a bit of sign language and precise body language through his posture, quivering voice, and darting eyes, but also his vocals were marvellous, with his wonderful control and range that carried through the theatre. Through his commanding vocals that never went off key and projected across the room, Philip Lukic's performance as Dom Claude Frollo was sensational. He showed off his stunning vocal range and strong vibrato, as well as his compelling physicality, in "Hellfire" as he portrayed Frollo's deeply rooted anger and frustration towards Esmeralda. Lukic's portrayal was thoroughly detailed and dedicated, from his statuesque composure to his dynamic formal delivery. He captivated the attention with his amazing stage presence that truly resonated throughout the production.

With flawless execution of choreography, passionate vocals, electric interaction with other characters, Jameel Ferzli's performance as the dashing captain, Phoebus De Martin, really had it all. His brilliant stage presence was captured through his swift execution, strong facade, and lively portrayal.

The Sir Wil Pit Band provided mesmerizing consistent music that never missed a beat. The hard work of designing and building the sets done by the Rest and ReCREATION crew was beautifully accomplished, with bell towers and stained glass windows that let light through and added to the gothic atmosphere.

Sir Wilfrid Laurier Secondary School's heart-wrenching rendition of The Hunchback of Notre Dame brought forward the idea that it's what's on the inside that truly matters.


^ top