‘Monte Cristo’- A New Musical- In Golden Age Form

By Alix Cohen

Remember the Golden Age of musicals whose plots had a linear beginning, middle and end; thwarted lovers, apparent villains, drama, comedy relief, and lush music? Monte Cristo arrives in that vein.

While Napoleon Bonaparte was in exile on Elba in 1814–1815, the Bourbon Restoration attempted to restore France’s monarchy after years of revolution and empire. The regime faced widespread dissatisfaction from soldiers, liberals, and former supporters of Napoleon, creating instability.“Dangerous Times” sings the company with lyrics that feel uncomfortably relevant.

Caught in the era’s crosshairs, sailor Edmond Dantès (Adam Jacobs) naively delivers a letter from Napoleon in exile to a stranger in Marseille. (Depiction of Napoleon is weak.) When he explains circumstances to Prosecutor Villefort (Norm Lewis), he’s believed.

Jacobs has a resonant, younger-Alfred-Drake voice which serves him well. He’s earnest and determined, without much nuance,
yet somehow fitting. Lewis is splendid in what seems a bespoke role. As his sonorous lower register wraps around Act II’s “A Great and Noble Man” we feel the poignancy of what he might’ve become.

Fernand (Daniel Yearwood) doesn’t have a chance courting fair Mercedes (Sierra Boggess) while Edmund is around. Danglars (James Judy) covets the the young man’s imminent promotion to captain of the Pharaon.

The two forge a letter and blackmail Villefort to secure Dantès incarceration. Innkeeper/friend Caderousse (Danny Rutigliano) overhears but was drunk and can’t quell the Prosecutor’s personal fears. Mercedes is left at the altar with tales of treason and death. Looking for protection, she marries Fernand.

Yearwood could be more obviously calculating in his portrayal. Repeated criminal acts prevent us from believing he stumbled into the good life. Judy aptly manifests a behind the scenes opportunist. Boggess has a beautiful theater voice, grace, and expressive eyes.

While incarcerated, Edmund meets an Abbe (Danny Rutigliano) who schools the illiterate young man in languages, science, history, and swordplay, transforming him into a cultured gentleman. Before he dies, the Abbe reveals hidden treasure buried on the island of Monte Cristo, which secures his protégé’s future.

Danny Rutigliano’s well honed comic chops enhance every moment he’s on stage. While Caderousse is Catskills, the Abbe emerges droll as well as serious. The fine “You Sent Me This?!” is a song chiding God for choosing someone unlearned man as the old man’s companion.

After 18 years, Edmund escapes reinventing himself as the mysterious and wealthy Count of Monte Cristo. He returns to society exacting carefully orchestrated retribution on the men who betrayed him, additionally finding Mercedes and her now grow son Albert (Jadon Lopez.) Of course, few recognize him- or there would be no story.

In Act II we see the first backstabber eliminated, the second flee, the third crushed and abandoned. Instrumental in the sequence is Haydée’ (Stephanie Jae Park- appealing voice and manner) whose father’s death was facilitated by Fernand. An odd contemporary note is inserted with the romantic choice of Danglars’ daughter, Allbert’s fiancé, Eugenie (Kate Fitzgerald)

As in any classic, the lovers reunite.

Also featuring Karen Ziemba (Carconte) who never quite gets the tone of the piece.

Monte Cristo could successfully be edited There are several unnecessary reprises where a couple of lines would’ve accomplished the same thing. Otherwise, the piece flows nicely, coherently presenting a complicated tale.
An entertaining and satisfying evening.

Director Peter Flynn uses his set with imagination and story logic. Momentary expressions and small gestures spice up character reactions. Time passed in prison, as the Abbe teaches Edmund, manifests in superbly staged vignettes.

These may be Peter Kellog’s best lyrics yet. They’re not only expressive, but illuminate. The trick with good lyric writing is not to fall for the easy rhyme sacrificing precise meaning. There’s little compromise in this deft piece.
Stephen Weiner’s music is lovely. Though it all sounds somewhat similar in Act I, Act II finds pleasing variation. You won’t leave humming, but songs carry lyrics with intention and finesse.

The York has outdone itself with this ready-for-commercial-run production. Anne Mundell’s Scenic Design is marvelous both practically and aesthetically.
Projections by Shawn Duan are skillfully engineered to fall not just on flat walls, but on top of the 3d set. Atmosphere is aided and abetted by Alan C. Edwards’ Lighting.

Costumes (Siena Zoe Allen & Amanda Roberge) are period correct and flattering. Seaside apparel has particular charm.
Caveats: rags might be more than just dirty and twice used trim with sparkles stands out like circus.
Caitlin Molloy’s Hair and Make Up work well, though Edmund’s beard would surely be longer in 18 years.

Photos by Shawn Salley
Opening: Adam Jacobs (Edmond Dantès) & Sierra Boggess (Mercedes)

Monte Cristo– A New Musical
Based on the novel by Alexandre Dumas and the play by Charles Fechter
Book and Lyrics by Peter Kellog
Music by Stephen Weiner
Directed by Peter Flynn
Choreographed by Marcos Santana

The York Theatre at St. Jean’s 150 East 76th Street
https://www.yorktheatre.org/
Through April 5, 2026