In The Count of Monte Cristo, an 1846 book by Alexandre Dumas, revenge is a chef’s tasting menu of dishes best served cold. In Monte Cristo, a new musical by Peter Kellogg and Stephen Weiner, the story is more of a warming dinner served family style with an emphasis on dessert. 2026 would seem the perfect time to become reacquainted with this clever complex tale about the abuse of power, the influence of the rich, and the self-destruction that can accompany vengeance. With its false facial hair, a backdrop that flaps in the A/C, and a clownish bi-curious detour, this interpretation bears more of a resemblance to Bugs Bunny’s take on the Barber of Seville: pleasing, diverting and just a little silly.
After a short prologue, the piece flashes back to 1815. A projection announces that Napoleon has been defeated and he is “not happy”. As in the classic tale, three men, each with his own selfish motive, conspire to get the well-meaning but naive Edmund out of the way. Fernand wishes to marry Edmund’s fiancé, Mercedes. Danglars feels he is entitled to Edmund’s impending promotion to captain. After the pair hatch a plan to make it appear that Edmund is a traitor, their forged letter falls into the hands of the prosecutor, Villefort. He too has a reason to act dishonorably on what he knows to be false information. The book and lyrics by Peter Kellogg skillfully handle the brooding years between Edmund’s arrest and the rest of the action, with a tone that often swings between gravity and levity.
Songwriter Stephen Weiner has put together a lilting but largely forgettable score. (My plus-one described it as “groundbreaking for 1955.”) Though opening with the promising “Dangerous Times” there are no big showstoppers. Fortunately, casting director Andrea Zee has secured a top flight ensemble who give their all. At the helm of this ship is the smooth-voiced Adam Jacobs as Edmund. He approaches act one with smiling good nature and becomes visibly hardened in the second half. As the innkeeper’s wife, Carconte, Karen Ziemba, is a standout both lyrically and comically. Kate Fitzgerald has her fun with the vapid Eugénie. But disappointingly the former Broadway Phantom Norm Lewis’s talent is squandered as Villefort, participating only in a reprise of “One Small Thing” and then saddled with the fiddly solo “A Great and Noble Man.” The rest of the cast includes Sierra Boggess as Mercedes, James Judy as Danglars, Jadon Lopez as Albert, Stephanie Jae Park as Princess Haydee, Eliseo Roman as Morrell, Danny Rutigliano who gets the most amusing numbers as innkeeper Caderousse and prisoner Abbe, and Daniel Yearwood as Fernand, the most interesting of the three betrayers. Those in smaller roles take on multiple parts.
Sense of place is particular well illustrated by Siena Zoë Allen & Amanda Roberge’s costumes which not only denote class, but change from country print to Parisian elegance. The scenic design by Anne Mundell has three main areas that are repurposed with projections designed by Shawn Duan and roll on set pieces. Director Peter Flynn uses the spaces and his talent to maximize the pace of storytelling. Joanna Lynne Staub’s sound includes the slight echo required for the dungeon scenes.
While not likely destined to be the next Les Miz, Monte Cristo is a satisfactory crowd pleaser. With its appealing story, easy to assemble set and well utilized cast, I could see it making a terrific touring production. For now, you can find The York Theatre’s presentation at the Theatre at St. Jean’s, 150 E 76th Street between 3rd and Lexington Avenues. The venue is down a short steep flight of stairs, but there is an elevator entrance on the 75th street side of the church. Current running time is 2 hours and 20 minutes including intermission. The limited engagement through April 5 is quickly selling out. Tickets range from $29 to $85 and can be purchased at https://www.yorktheatre.org/monte-cristo-2025.
The Unforgettable Line 