Margin Notes: Monte Cristo

Monte Cristo

Seen on: Wednesday, 3/18/26.

Adam Jacobs as Edmund and Sierra Boggess
as Mercedes. Photo by Shawn Salley.

Plot and Background

The York Theatre presents the world premiere of Peter Kellogg and Stephen Weiner's new musical adaptation of the classic Alexandre Dumas novel The Count of Monte Cristo. Edmund, an honest sailor, is framed for treason on the eve of his wedding, and sent to prison for eighteen years. His fiancée Mercedes, believing him dead, marries his rival Fernand to cover her pregnancy. While in prison, Edmund is educated by fellow prisoner Abbe in languages, arts, and swordcraft, as well as the location of a hidden fortune; when he escapes, he uncovers the treasure on Monte Cristo, then uses his newfound wealth and knowledge to build his new persona as the mysterious titular count, and wreak revenge on the three men who wronged him.

Thoughts:

Originally released in serialized form before its publication as a novel, The Count of Monte Cristo is a complex web of treachery, revenge, and a twisted quest for justice, stuffed with a large cast of characters tracing morally ambiguous journeys. A two hours and change musical can't manage all that and still be coherent. Peter Kellogg and Stephen Weiner's musical adaptation seeks coherency by condensing and combining a number of auxiliary characters while cleaning up some of their acts: Edmund's allies, though played for laughs, stand on the side of right without treachery. Edmund doesn't teach someone how to poison her family. He also doesn't help rescue a number of past allies from financial ruin, but there's a lot going on in the novel, and it's better to narrow things down to the core parts of his arc. This is the correct move, but unfortunately in execution the reader's digest version of events, while following story beats, fails to thrill beyond what now seem like a very pedestrian narrative. Sweeney Todd this is not. (They also, incidentally, change the ending of the story, but they're not the first adaptation to make this change.)

That doesn't mean they're not trying. Stephen Weiner's score aspires toward the lushness of a tortured romance, but struggles to balance that against the more traditional sidekick character numbers, which indulge in an earthier old-fashioned musical comedy style. I think that tension might be the real struggle within the show at the moment: whether or not this is an old-fashioned musical comedy with a soupçon of camp, or a sweeping and ballad-full romantic musical drama, a la other pop musical writers like Webber and Wildhorn (incidentally, Wildhorn has also penned an adaptation of the novel, though it's played more internationally than domestically). If you go in expecting the latter, you'll be disappointed; however, if you go in open to the comic stylings, particularly of Danny Rutigliano, doing double duty as both Edmund's mentor (Abbe) and sidekick (Caderousse) and making a meal out of both, you might fare better. This is especially evident in Kellogg's lyrics. In the more romantic numbers, his lyrics tend toward a looser pop sensibility of songs that could be easily removed from context and played elsewhere; however, for the more comedic numbers, the lyrics must be specific to be funny, and are thus much more grounded in the circumstances of character and moment. 

Still, the sweeter melodies receive much-needed elevation when sung by such a gloriously-voiced cast. Sierra Boggess, with her crystal soprano, is able to showcase her strength, including in a lovely duet with Edmund's ward Haydee, played by an equally clear-voiced Stephanie Jae Park. Norm Lewis's honeyed baritone elevates any melody it touches, and he brings beauty to his second act number, "A Great and Noble Man." Karen Ziemba, though funny when she's given the space, feels rather underserved by her roles. In the titular role, Adam Jacobs imbues Edmund with a strong and husky tenor, and the actor is particularly adept at his character's transformation from naive but good-hearted young sailor to a seasoned gentleman of wealth, power, and a delicate cruelty, all with subtle adjustments to posture and placement of his voice.

The production boasts a handsome framing scenic design by Anne Mundell: a cold grey-stoned dungeon with high-arched doorways and cross-barred cells. While an open enough space to allow for us to visit a variety of locales (aided in large part by Shawn Duan's inobtrusive projections and Alan C. Edwards's lighting--Duan's projections doing exceptional work especially during the song "Haydee's Story"), the cold stone of floor and wall also reminds us that Edmund never truly leaves his prison while he is still single-mindedly bent on revenge.

***

Running: Now playing at Theatre at St. Jean's (The York Theatre) - Opening: March 19, 2026. Closing: April 5, 2026.
Category: musical
Length: 2 hours, 15 minutes, including intermission.

Creative Team

Book & Lyrics: Peter Kellogg
Music: Stephen Weiner
Director: Peter Flynn
Designers and Team: Marcos Santana (Choreography), David Hancock Turner (Music Direction & Orchestrations), Anne Mundell (Scenic), Siena Zoë Allen & Amanda Roberge (Costume), Alan C. Edwards (Lighting), Joanna Lynne Staub (Sound), Shawn Duan (Projections), Caitlin Molloy (Hair & Makeup), Polly Solomon (Prop), Betty Weinberger (Additional Choreography), Andree Zee, Zee-Casting (Casting Director), Arthur Atkinson (Production Stage Manager), Nicole Caroselli (Assistant Stage Manager), James Manuel Meneses (Company Manager), Kyle Schuller (Production Manager), Ellie Peterson (Production Assistant), Innoruptiv (Advdertising & Marketing), Katie Rosin | Kampfire PR (Publicity).
Cast: Adam Jacobs, Sierra Boggess, Norm Lewis, Danny Rutigliano, Karen Ziemba, Daniel Yearwood, James Judy, Stephanie Jae Park, Eliseo Roman, Kate Fitzgerald, Jadon Lopez, Madison Claire Parks, Travis Keith Battle.

Norm Lewis as Villefort. Photo by Shawn Salley.