Photo Credit: Evan Zimmerman for MurphyMade
“Monte Cristo,” a new musical by Peter Kellogg and Stephen Weiner, had its world premiere with a limited run at the York Theatre in New York. The musical shows potential but is not completely realized… yet. (Spoilers ahead!)
The first ensemble number, “Dangerous Times,” resonates with the complicated political world unfolding. It brings to mind the early concept recordings of Frank Wildhorn’s “Jekyll and Hyde,” a bit of gothic thriller and romance combined, with voices that ring out broader and grander, reminiscent of 1990s Broadway.
The York Theatre provides an intimate setting to witness these star turns. In the title role, Adam Jacobs brings youthful energy to Edmund and a more sullen reserve as the Count, bent on his revenge. Norm Lewis as Villefort was also brilliant, his voice truly glorious, if sadly underutilized. Danny Rutigliano and Karen Ziemba, playing double duty, were especially effective with their comic relief.
Sierra Boggess bounds onstage and is immediately infectious as Mercedes. She brings a beauty of voice and girlish charm that dazzles the audience. “You Guide Me Home” is a beautiful duet between the main lovers, and the stage is adequately set with “One Small Thing” for the conspiracy that will rob Edmund (Adams Jacobs) of his freedom and impending wedding.
The show has not yet figured out its pacing. Sometimes a joke is not given quite enough time to land. Big dramatic announcements are quickly passed by, and the show loses some of the emotional impact because of it. It’s understandable; there is a lot of plot to cram in, but at times it feels like too much action is happening offstage. Motivations are hinted at rather than realized. Fernan (played by Daniel Yearwood), in particular, has the potential to be a rich character; and while we are led to believe one cruel act begets another, he is a very unsatisfying villain.
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As it stands, the weakest part of the musical is the finale. It seemed that we were being set up for a Casablanca-type ending; Mercedes’ loyalty to Fernan would have been noble but bittersweet, but the impact of the stunning “Goodbye” duet is immediately undone. The stakes are removed with nary a struggle, and… a second death occurs offstage.
The tacked-on happy ending felt a bit like the disorganized, unresolved plots that used to be a marker of Deanna Durbin films (the most successful of Hollywood’s golden age sopranos). Beautiful music, happy characters, but very little sense to the resolution. For a show marketed as about the greatest revenge, we enjoy very little, especially on the seemingly worst of the conspirators (Danglars portrayed by James Judy), and still little more of Edmund’s realization that revenge was not all that he had intended.
These things are pointed out not as needless internet criticism but because truly there is much to enjoy about “Monte Cristo” and it’s so close to realizing its full promise. “This Stupid Heart of Mine” is especially memorable. The comedic numbers throughout are very appreciated, though the instrumentation feels a little disconnected from the rest of the musical. Jadon Lopez (Albert / others) and Kate Fitzgerald (Eugenie / Others) are very charming in their roles as not-quite-committed betrotheds. Eugenie has the potential to become a true fan favorite, while Stephanie Jae Park (Haydee) brings a beautiful tragedy to her role as the Prussian princess. Truly, the cast is bringing their all, and it is felt. With some reworking of the plot in the final act, Monte Cristo has the potential to become an emotionally fulfilling experience worthy of its performers and score.
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