‘Copperfield – The New Musical’ – A Wonderfully Entertaining Version of the Saga

By Alix Cohen

Charles Dickens’ David Copperfield was published in installments 1849-1850, then became a book. It was a resounding success. The story follows an orphaned boy who endures cruelty, poverty, and betrayal before finding friendship, love and success as a writer.

A number of colorful ancillary characters enrich the tale. The twelve cast members who comprise this extraordinary company enact these. Each additionally sings and plays at least one musical instrument with notable skill. Recruiting talent must’ve been like climbing a glass mountain. (Eisenberg Casting)

Adult David (Bobby Conte) first appears on stage with only a ghost light. Music surges. “Whether I shall turn out to be the hero of my life, or whether that station will be held by anybody else, these pages must show,” he says quoting Charles Dickens.The character jots in a notebook throughout. (That, in reality, he would’ve needed a quill and ink seems irrelevant.)

From birth through boyhood, adult “Davie” wanders through unseen.Henry Witcher admirably plays young David without self consciousness. Widowed Mrs. Copperfield (Cathryn Wake- lovely here and as David’s eventual wife, Dora) and housekeeper Peggotty (Amelia Cormack – fine at every turn) do the best they can for the boy’s early years.

Struggling, his mother gets drawn into a marriage with despicable Mr. Murdstone who promptly sends David to Peggoty’s brother while he thoroughly takes over the household. Will Reynolds’s portrayal lacks definition. Later, however, as scheming clerk, Uriah Heep, he’s first rate.

David is welcomed into the household of Mr. Peggotty (Alexander Sovronsky all of whose roles splendidly come to life), his quiet daughter, Emily (Nancy O’Connor, palpably shy), and her fisherman suitor Ham (a grounded Jed Feder.) The boy is briefly happy.

Sent back home where he’s beaten, then to a school where he’s beaten, young David makes his first friend in the irrepressible Steerforth (a multifaceted Owen Squire Smith – imagine a young Douglas Sills.) When that doesn’t take, he’s employed doing factory work, 12 hours a day, half Saturdays. Mom dies of a second pregnancy.

Young David boards at the familial Micawbers (Amelia Comack and the excellent Any Taylor) who provide some respite. Debts mount to a degree that send the couple fleeing. Alone, young David walks to his only relative, Aunt Betsy Trotwood (Kora Mikula- good character, fine vocal) and her eccentric companion, Mr. Dick (Aaron Michael Ray.) At first reticent, she takes him in. Everything changes for the better.

Adult David becomes the visible lead. At school, he boards with the caring Wickfields whose daughter Agnes (Tatania Wechsler- dignified) becomes important. Clerk, Uriah Heep insidiously takes over his new friends’ business, coercing Micawber to help.
The protagonist’s short marriage to pretty Dora (Cathryn Wake), Steerforth’s betrayal, Emily’s ill fated elopement, Micawber finding his conscience, and the hero’s heartsick traveling circle around to a happy ending. Masterful plot ties up neatly.

The complicated story arrives with clarity by way of book, music and lyric writer Jeffrey Scharf and director Gabriel Barre. Audience will understand, be sympathetic, absorbed and entertained without having had to read the novel.

Songs range from music hall/vaudeville to ballads and a sea shanty. Variation is not always present with the same writer taking on everything. Most are load bearing, some particularly pleasant, some clever.

Bobby Conte is a perfect leading man. He’s matinee handsome, sings appealingly, acts with nuance and moves with limber skill. Talents remind one of early Christian Borle or Kevin Kline. Watch for him elsewhere.

Scenic Design (Edward Pierce) is minimal, yet sufficient. Costumes (Jen Caprio) are wonderful, each embodying character as well as class and period. Hair, Wig and Make-up Design (J.Jared Janas) looks organic. Sound (Shannon Slaton) is pristine.

Director Gabriel Barre does an inspired job with actors doubling as musicians. Employment of one talent never interferes with or compromises the other.Two balconies as well as the theater floor are creatively utilized. Musical numbers involving the company are aesthetically and infectiously staged. Every actor is focused. Barre lets certain characters stand out, but almost all manifests distinctive characteristics. The production is smooth and well paced.

GO. The show is fun and worthy. It deserves a life elsewhere.

Photos by Jeremy Daniel

Copperfield – The New Musical
Book, Music & Lyrics by Jeffrey Scharf
Directed and Choreographed by Gabriel Barre
The Duke on 42nd Street 229 W 42nd St
Through December 6, 2026
https://www.copperfieldthemusical.com/