New!

I'm very proud to post the first Official Review of the World Premiere of "The Count of Monte Cristo," by IC senior Brett Boles:

The Count of Monte Cristo, Ithaca College, May 3, 2007

Article published May 2, 2007
‘The Count of Monte Cristo' sings to a new, confident tune
By Miranda K. Pennington
Special to The Journal

The high level of anticipation surrounding the Ithaca College's final mainstage production of the year was more than justified by the production that ran last week in Ithaca College's Hoerner Theatre. The world premiere musical from composer senior Brett M. Boles, based on Alexandre Dumas' “The Count of Monte Cristo,” was impressive and full of promise for future growth and success.

Boles faced the task of reproducing onstage the elaborate story of a young sailor, Edmond Dantès, his love Mercedes, his unjust imprisonment and his final vengeance on those responsible for his betrayal. “The Count of Monte Cristo” may be a work in progress, but it is already a highly evolved achievement.

The composer's familiarity with the novel was reflected in his confident handling of the sprawling plot, emphasizing the elements of romance and vengeance. In focusing on Dantès' hardening from impetuous youth to callous Count, Boles is able to barely touch upon some of the novel's other epic adventures.

He managed to compress the significant relationship between Dantès and his prison mentor Faria into an extended training montage, punctuated by vignettes of the world outside the dank Château d'If. The time saved was spent relishing each step of Dantès retribution and seeking out what humor there is to be found (though some of the jokes seem out of place) in the otherwise dark tale.

The score was expressive and exciting, with complex meters underneath compelling melodies expressing longing, adventure and anticipation. The expansive chorus numbers were triumphant and his smaller ensembles — particularly the delicately lovely “Worth the Wait” trio — showcased Boles' gift of vocal composition as he wove as many as six voices together in richly textured groups, though at times polyphony nears cacophony.

The creative team behind the production, including director Susannah Berryman and musical director Joel Gelpe (who also conducted the excellent pit orchestra) tapped the strongest musical performers Ithaca College has to offer for the challenging roles Boles has developed.

Senior Jeremy Jordan gave his best Ithaca College performance yet as the Count. His beautiful tenor voice was at its most clear and he was completely immersed in the character, leaving no trace of his past lighter roles. As his Mercédès, senior Marisa Dargahi was an ardent and passionate foil, with a resonant middle range and light upper register.

Within the trio of villains, Danglars (senior Michael Mott), Villefort (junior Daniel C. Greenwood) and Fernand (senior Aaron Morris), each one brought a distinctive conviction to their respective role. The three blended well while holding their own on solo numbers, particularly Danglar's striking “Unlimited,” and Villefort's stirring “Innocent or Guilty.” The young Haydèe, freshman Elysia Shutrump was both sweet and fiery, her childlike quality contradicted by her mature and stunning rendition of “Like I Can” (an piece of mezzo-soprano virtuosity to be treasured).

The wide variety of musical numbers showed off Boles' understanding of plot and character development through song. Some pieces, like the opening “Months at Sea,” provided moments of pause and reflection, while others like “Pieces on a Chess Board” accelerate the story and set crucial plot developments in motion (via memorable tunes and deftly intricate wordplay).

Though the characters may declare “subtlety be damned,” there was a great deal of nuance in the production, from the understated movements and elaborate dance choreography by Mary Corsaro to the elaborate costumes by Greg Robbins, who executed everything from prison rags to Turkish finery.

Set designer Steve TenEyck provided a multi-apertured balcony overlooking the stage, a turntable for stylish scene changes and movable pier and prison cell platforms to augment the austere mansion set. Sensitive lighting by senior Adam Frank slanted through shuttered windows, dimly illuminated Dantès' cell or provided a starry showcase for Mercedes' moving “Wait and Hope.”

One of the few criticisms of “The Count of Monte Cristo” concerns the consistent vehemence of the music; some numbers might have been more effective in a less anthem-like style. However, when the novel was first published serially, every chapter ended in a dramatic cliff-hanger. When the heightened passion of Boles' compositions is viewed as a reflection of the novel's original format, the climactic nature of each song takes on deliberate significance.

The crux of Boles' accomplishment is the complexity of his musical composition. Coupled with clever lyrics, his melodies had the freedom of modern pop music grounded in the inspiration and healthy vocal tradition of classic Broadway. There were echoes of “Les Mis,” “La Mancha” and “Phantom,” but Boles has drawn from a substantial pool of musical theatre history to create something unforgettable and entirely his own.