OGUNQUIT — Most Disney stories conclude the same: The villain is defeated, the princess in distress marries her savior and crowds cheer as the two ride away on horses.

Thankfully, this is no Disney production. “The Hunchback of Notre Dame,” which made its third regional premiere in the country at the Ogunquit Playhouse on Friday, may use Alan Menken’s and Stephen Schwartz’s score from the 1996 Disney animated film of the same name, but delves into themes far darker than Disney would care to explore.

The musical, with book by Peter Parnell, brings to life Victor Hugo’s 1831 novel, “Notre-Dame de Paris,” a dark-yet-lively tale of love, loss, sexual discovery and, somehow, hope. And Ogunquit has managed to do so with a stellar cast of Broadway professionals.

F. Michael Haynie, known for his work in “Wicked” and “Holler If You Hear Me,” made his Ogunquit debut as Quasimodo, the deformed bell-ringer of Notre Dame on Friday. Enduring abuse from both the public and his guardian, Claude Frollo (Bradley Dean), and tormented by his seclusion in the belfry atop the cathedral, Haynie very much embodies the spirit of a feral child: physically and developmentally disabled, verbally impaired and longing for affection, a tough task handled with both grace and enthusiasm.

Haynie plays a man tormented by love, loss and loneliness. His raw vocals are a reminder of this. They’re not perfect, but they are powerful and risky. This is no more evident than in “Made of Stone,” where Haynie’s vocals soar to the top of the theater in a gravely decree of his independence from his confidantes, the gargoyles of Notre Dame. His performance is raw and intimate, and should be applauded.

Sydney Morton, of “Memphis” and “Evita” fame, makes a statement as the beautiful Gypsy girl Esmeralda, who garners the affection of many in Paris. As a dancer, her movements are swift, sexy and yet serene. As an actor, Morton is both strong-willed and compassionate and her ability to command the stage with simple movements is noteworthy. In “God Help the Outcasts,” she barely moves on the stage, a stark contrast from only moments before, when she showcased her acrobatic prowess in “Rhythm of the Tambourine.” There is power in her stillness, though, and her restraint is a reflection of her talent as an actor.

Dean (“A Little Night Music”) embodies the ultimate villain as Claude Frollo, Archdeacon of Notre Dame. Struggling to come to terms with his infatuation with Esmeralda, who has for the first time tempted his repressed sexuality, Dean becomes the epitome of deviance, entitlement and revenge. The audience collectively cringed when, after he attempts to rape her, Frollo rubs a scarf on Esmeralda and smells it before sentencing her to death. It’s a subtle but noteworthy move, a choice done on part of a good actor to remind the audience of the very real themes being explored in the plot.

Dean’s vocals are also no joke. His rendition of “Hellfire” causes a sweat. In a moment of passion and hatred, Dean both professes his temptation for Esmeralda while condemning her to burn at the stake, ending his crescendo posed like Jesus dead on the cross. While Dean’s singing voice is perhaps not as low as the character demands, the conviction with which he sings and his ability to act supersede any vocal imperfections.

This is unfortunately not the case with Christopher Johnstone, who plays Phoebus, the womanizing Captain of the Guard who becomes Esmeralda’s principal love interest. No doubt, Johnstone has chops: His tenderness in “In a Place of Miracles,” solemnity in “Someday” and charisma in “Rest and Recreation” are not only commendable, they’re beautiful to listen to.

But at times, Johnstone’s passion in singing is unmatched in his acting, which comes off as nonchalant and almost flat. In some instances, it is hard to believe he loves Esmeralda at all. Even so, Johnstone’s vocal performance is likely the best out of anyone in the show, soaring high and dipping low with ease.

Also lacking in caliber is Paolo Montalban, who plays Clopin, the King of the Gypsies. Montalban also has the arduous task of narrating the show from its onset. His ability to act is obvious, but what isn’t obvious is which role he plays from scene to scene and, in both roles, his vocal ability and personality can be one-noted.

Director Shaun Kerrison has said the show is driven by the cast, but it could be argued the show is driven by the 32-member choir of local singers, who sing nearly every second of the 180- minute show. As a result, the sound hits the audience with a force perhaps too large for the 660-seat playhouse.

While there are few flaws in casting, a few technicalities do detract from the talent onstage.

The lighting, while beautiful, is muted at times. In instances when lighting is mentioned in the dialogue, there is often no change. But in moments when lighting is well done, it stuns. Perhaps the best use of light comes as Quasimodo pours hot lead onto a crowd of guards. As Haynie tips the cauldron toward the ground, the audience is blinded by a flash of red light from above so hot it feels almost real.

Further technical criticisms include choreography. In dancing, the choreography is intricate and lively, particularly in scenes featuring the Gypsies. In scenes of conflict, however, Jacob Grigolia-Rosenbaum’s fight choreography comes off as scattered and at times uncoordinated.

The unspoken-for main character of Ogunquit’s production, the set, is every bit as important as the principal cast. Scenic designer Adam Koch has constructed both an intricate yet expansive set, dark and intentionally rickety, that relies heavily on motion – from a turntable that acts as Quasimodo’s sanctuary to a rolling staircase from which he sings “Out There” while ascending to the top. The decision to place Notre Dame’s massive stain glass window off-center in the back of the stage not only adds depth to the show’s scenes; it provides tension to signal all is not well within the cathedral’s walls.

In fact, every action of Kerrison’s production is deliberate. Kerrison himself said after the show that most of the ensemble’s dialogue is not assigned to specific actors in the script, leaving the director with ultimate creative control. As a result, the show is deeply personal. Not to give too much away, but one such personal touch comes as Kerrison ends his epic production with a scene not written into the script that leaves the crowd with just an ounce of hope amid the carnage.

It was easy on Friday to see why “Hunchback” has yet to make Broadway. Despite utilizing Disney’s score, the show’s provocative themes don’t posses the family-friendly appeal of other hit musicals like “The Lion King” or “Beauty and the Beast,” but that is the appeal.

With rhetoric of walls dividing nations, reports of sexual violence at college campuses on the rise and a seemingly never-ending stream of violence against minorities in the headlines, “Hunchback” could not come at a more relevant time, and does much to prove its central theme that “the wicked shall not go unpunished,” which it does quite beautifully.

“The Hunchback of Notre Dame” runs through Aug. 6 at the Ogunquit Playhouse, 10 Main St. (Route 1). For tickets, call 646-5511 or visit ogunquitplayhouse.org.

— Staff Writer Alan Bennett can be contacted at 282-1535, ext. 329 or abennett@journaltribune.com.