Review by Ron Fassler . . .
In the mid-70s, pop composer Rupert Holmes was doing well writing and performing hits like “Him” and “The Pina Colada Song”, though their success did have its drawbacks: “I hate being Mr. Pina Colada,” he said. “It makes me sound like a guy who dispenses frozen yogurt.” But those feats led him to write songs for Barbra Streisand, arranging and conducting her album “Lazy Afternoon” (1975), as well as becoming a comedy club and cabaret performer. All of this before he took a left turn forty-one years ago when he wrote the book, lyrics, and music for a musical based on Charles Dickens’ The Mystery of Edwin Drood, left unfinished when the novelist died of a stroke in 1870. As was the custom in his day, Dickens’s books were read by his faithful followers in monthly installments, chapter by chapter. Sadly, we’ll never know how he intended to complete the mystery since only six of the proposed twelve chapters were published prior to his sudden death. This didn’t stop numerous writers from making attempts to complete it over the course of a century. In many forms, it has been performed on stage and on the radio, as well as various films and television versions.
When Holmes decided to turn it into a musical, he was the first to have the clever idea to forget about supplying his own ending and let the audience solve the mystery instead. Presented in an English music hall setting, its cast of characters include the ones Dickens created as well as Holmes’s take on the actors who portray them. The frivolous atmosphere allows for some over-the top antics, not to mention a bit of silly overacting. Premiering in the summer of 1985 at the New York Shakespeare Festival’s Delacorte Theatre in Central Park, the critics threw bouquets which necessitated a move to Broadway that winter, followed the following spring by winning the Tony Award for Best Musical, along with 4 other trophies (one each for Holmes’s score and book). Revived on Broadway by the Roundabout in 2012, it’s been away long enough to warrant a return courtesy of J2 Spotlight, the final entry of their three-show season, all of which have been performed over the past month at the AMT Theatre on West 45th Street.
For those with no knowledge of the plot, Edwin Drood goes missing and may, or may not be, dead. Those who might have had motive to do him harm comprise the cast of characters. Rather than reveal the basics of the plot, it’s best to go in cold and enjoy the mischief and pranks that await.
Staged with aplomb by Rob W. Schneider (also the company’s artistic director), once again pares the cast size down from its original twenty-two to a more manageable dozen without sacrificing any of the musical’s joy or spontaneity. Led by Joel Blum as “the Chairman,” a role which won George Rose a Tony as Best Actor in a Musical back in 1986, Blum, himself a two-time Tony nominee, shows off enough tricks up his sleeve to effectively lead the troupe. Though a bit jittery on opening night, he handled the occasional kerfuffle with poise. Quinn Corcoran, who excelled in last year’s J2 Spotlight’s Zorba, presents a wickedly funny and well sung John Jasper. New to me, Megan Hasse sports a superb soprano as Rosa Bud and, as no J2 show uses microphones attached to the forehead or sides of a face, what a treat it is to hear such a strong soprano without any amplification. Jodi Bluestein, who must compete with memories of Betty Buckley and Stephanie J. Block as the mysterious title character, is in possession of crystal-clear diction and sings high notes that deserve nothing but high praise. I was also taken with Robert Hooghkirk (the audience adored him, too), whose Bazzard was all loose limbs and impetuous naïveté. Richard Rowen, whose looks would have earned him a Warner Bros. or MGM contract as a featured player in dozens of 1930s and 40s films, makes the Reverand Crisparkle sparkle, and Sierra Rein delights as Princess Puffer, a throwback to entertainers in the grand style of Tessie O’Shea (now I’m really showing my age). Trust me though, it’s a compliment. In fact, there’s not a weak link in the cast that also includes Elbi Cespedes, Weston Pytel, Wesley Slade, Madeline Grace Smith, and Nicole Vazquez.
What little choreography is required on a stage that has a tough time fitting a dozen actors on it is ably handled by Josh Zacher. And, as he’s done previously on other J2 productions, music director Canaan Harris makes his tiny band sound terrific.
It is thus a pleasure to report that this production is no less than a slam-bang entertainment — or maybe I’ll just say, “Bang it, bash it, oo, glory be!” — lyrics to one of Drood’s most tuneful songs.
The Mystery of Edwin Drood is at AMT Theatre, 354 W. 45th St., New York, playing through May 24th; https://www.j2spotlightnyc.com.
Photos by Russ Rowland.
Headline photo: The company of The Mystery of Edwin Drood (Joel Blum as the Chairman, center).
