Honorable men unjustly imprisoned, orphaned foundlings seeking to undue the effects of emptiness, struggling masses yearning to break free, a tragic love triangle, and a redeemed reprobate making the ultimate sacrifice. Adjoin all of this to the comical characters of Charles Dickens, a sumptuous songbook by Jill Santoriello, some of the best soloists on stage, and what more could anyone ask of a Broadway show? But for the musical version of A Tale of Two Cities, its all-too-short Broadway run was the best of times and the worst of times.
Broadway Reception
Following a sold-out Florida run, the musical of the classic novel, tread the boards of Broadway, as an anticipated return to the glory of former lavish stage shows. Early ticket sales were strong. However, the reviews were medico, and the declining economy finally signaled the guillotining of the Broadway stint.
Upon first viewing, the show’s obvious potential, could be seen to have weaknesses. As the run progressed the production became a testament to what theater could achieve, and it rightly acquired popularity among audiences.
Final Bows
It played its last show on Sunday, November 9, 2008, after almost 100 performances at the Al Heirsfield Theater. The final performance, which played to a full house, exhibited great momentum. The array of charismatic characters took the audience along on an exciting ride of joy and sorrow. As a story about redemption and second-chances, the show was as cathartic and entertaining as theater should be, and one can only ponder why it was not a greater success.
The French Revolution in Musical Theater
To the end, the show had its flaws. The opening and closing of each act did not uphold the show’s standard. The beginning took too long to orient, and the second act’s starting number, intended to set the mood of Revolutionary France, was ineffective and unnecessary since later scenes better conveyed the historical hysteria.
But while the production faltered, it never fell to the floor. Yet it did fall victim to being unfavorably compared to the musical Les Misérables, based on the book of the same title by Victor Hugo. Stage musicals about the French Revolution seem unable to escape this comparison. Something similar threatened to occur to the former Broadway production of The Scarlet Pimpernel, but the musical about the exploits of a master of escape managed to elude comparison. The French Revolution is extensive enough to act as the backdrop for many dissimilar sung stories.
Songs and Singers
The songs were individually amusing or arresting, and sung by some of the best voices on Broadway, many of whom are now participating in the workshops for The Count of Monte Cristo.
Brandi Burkhardt, playing the good-hearted Lucie, added sweet soprano voice and dimension to the lovable lady, who is dutiful daughter to formerly imprisoned, Dr. Manette (Gregg Edelman), and wonderful wife to Charles Darney (Aaron Lazar), who, due to class corruption, rejected his Franco-aristocratic inheritance only to later find himself facing the chopping block resulting from the infamous fury of Madame Defarge (Natalie Toro), whose husband Ernest (Kevin Earley) serves as a reasonable voice.
The talents of these performers and their fellow cast members were impressive. Most noticeable was the enthrallingly moving performance of James Barbour, as Sydney Carton, the low-living lawyer, whose love for Lucie leads him to relinquish his life, thus saving Charles and redeeming his own soul.
Far Far Better Rest
Many details, such as comic dialogue, seamless staging, and cleverly constructed structural sets contributed to the intriguing entertainment, and for audiences it has left its mark as a “Far far better” show than is usually done.
