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I wrote a post once about musical theatre composers who are not household names, but should be. After being swept into Jill Santoriello’s pre-Broadway production of A Tale Two Cities Tuesday night, I am certain she will skip inclusion in that post, and head directly to “household name.”
Ms. Santoriello wrote the book, music and lyrics for the show and that single authorship is apparent in the seamlessness between spoken word and song throughout the piece.
With the exception of a few comic and/or beer-swilling bar tunes, the characters in this musical move from spoken word to song—like Shakespearean characters leaping from prose to iambic pentameter—when the emotions they must convey require a heightened form of expression. The result is a crystal clear depiction of a storyline spanning thirty-six years, two continents, and more than a dozen principal and secondary characters. The nearly three-hour evening flew by because the story is told clearly and always with a forward-moving energy.
The theme of the book’s most famous line, “It was the best of times; it was the worst of times,” surfaces throughout the musical without banging anyone over the head. At one point, Sydney Carton remarks to Lucie Manette that she always sees the best in people, and she responds that he always sees the worst. It is subtleties like this one that sets this musical apart from other more heavy handed adaptations of famous source material, like the clunkier musical adaptation of Mary Shelley’s Frankenstein currently playing off-Broadway.
As Sydney Carton, Broadway veteran James Barbour spends a good three quarters of the show portraying a character who is three (or more) sheets to the wind. He never plays “at” being drunk, and though his characters’ vision may be a little blurry, Barbour allows us to see clearly Carton’s pain, longing, and conflicting desires even through the fog of inebriation. By the end of the play, as Barbour utters the book’s second most famous lines “’Tis a far, far better thing I do…,” I felt as though I could see through his skin into the character’s soul, so emotionally raw was his performance. His powerful baritone voice reminded me at times of Terrence Mann at the top of his game and the audience was audibly moved more than once by his singing.
Equally passionate is Natalie Toro as Mme. Defarge. The stool upon which she sits quietly knitting throughout the beginning of the first act might as well have been a powder keg waiting to explode. Mme. Defarge is a compact powerhouse, fueled by her desire for revenge, and when Ms. Toro pushes her sleeves up midway through act one, you know the explosion is imminent. I’ve said before I’m a sucker for a woman who can belt, and Ms. Toro has the voice through which to channel this woman’s passion for revenge, raising the stakes for all the other characters in the show and setting into motion the play’s dramatic conclusion.
Jessica Rush embodies Lucie Manette with a stoic strength, and is most engaging when she is expressing herself in song. Her aria, “Without a Word,” is the perfect mix of Ms. Santoriello’s lyrics, delivered by an emotionally solid actress with a crystal clear voice. Again the audience was audibly moved by her delivery of this song.
“How could you leave?
Leave without a word?
How could you do this to your own?
Go out alone to save a stranger,
A distant memory that stirred.
Weren’t we enough?”
The third point in the show’s love triangle is Derek Keeling as Charles Darnay, the aristocrat who denounces his family, but isn’t able to escape their legacy. Though I was rooting for his character and the principals he stands for, I never quite bought Keeling as a French aristocrat. He is charming in the role, however, and has a beautiful tenor voice, so I was able to forgive the occasional “git” that snuck into his dialect.
Other standouts are Nick Wyman, bringing just a hint of Thenardier to his portrayal of the wily John Barsad; Alex Santoriello, who draws the audience in from the very beginning with his tender performance as Dr. Manette; and Bruce Compton Merkle whose five minute turn as a dying young man is heart breaking and beautifully sung.
Taking a tour after the show of Tony Walton’s versatile skeletal set revealed the technical wizardry behind these seemingly rustic pieces. Though designed to look like wood, the six multi-leveled set pieces are solidly constructed of steel. They move with very little effort thanks to the $50,000 castors upon which they glide. And the small, imperceptible lights that move with them and create the various moods designed by Richard Pilbrow are all controlled wirelessly, a first, according to executive producers Ron Sharpe and Barbra Russell.
I also have to give kudos to Carl Casella and Domonic Sack’s sound design. Too many times a musical has been ruined for me by a muffled or tinny sound, but I never thought once about it during this show, which is a testimony to their design.
Ron and Barbra, much to my surprise, met Joe and me after the show, and allowed us a closer look at the backstage workings of A Tale of Two Cities: Walton’s incredible set, Tom Watson’s fifty-some wigs, David Zinn’s sparkling costumes. I also met and spoke briefly with Ms. Santoriello, as well as several cast members. James Barbour joined us halfway through the tour and was an absolute delight. We talked about the spiritual aspects of the show, exchanged photos of our dogs, and he showed us the original topcoat that Carton was to wear which ended up being too heavy and contemporary looking, but could possibly be salvaged for one of Barbour’s upcoming solo concerts, if he has any say in the matter.
Ron and Barbra told me that there had been several Broadway theatre owners there to see the show, and just that night they had a very promising chat with one of them regarding A Tale of Two Cities’ future.
I’m sure the show will be a success in New York. It’s the kind of smartly written, beautifully composed, clear story telling that Broadway needs more of. And from what I have seen, reviews of the Sarasota version have been pretty stellar. I look forward to it’s successful future, when ever and where ever that may be. As the cast sings at the end of act one, “It won’t be long until tomorrow becomes today.”
I can’t resist saying it, but the whole experience for me ranks among the best of times this theatre geek has ever had as an audience member.
Related Articles:
- Out of Sight, Out of Mind
- Tale of Two Cities: The Barbour of Sarasota
- One Tale of Two Cities
- Tale of Two Cities: Sights, Sites & Sounds
- A Tale of Two Cities: Not a Trivial Pursuit
- Everyone Deserves a Second Chance...
This was a great show…..I saw it twice already and may try one more time before it is over.
I really hope it goes to Broadway with all those in the cast.
For other stand outs, Bruce Compton Merkle has a beautiful voice for one so young.
I hate to throw cold water on your excitement, but I don’t see this show succeeding on Broadway. The age of the grandiose historical pop operas has passed. New York critics are over them and so are most NY audiences. A show like this could succeed in London (the home of ALW) but this show will sink on Broadway. I suggest the producers follow the example that Zhivago (Lucy Simon) is setting and follow the route directly from regional to London’s West End (where Zhivago is going to bow in 08-09 from what I’m hearing).
I definitely think it has it’s place on Broadway! The score is not ‘pop’, for one, and what’s more, those of us who love historical, epic classics in the musical arena CRAVE shows like this in NY! It will especially succeed if they’re able to hold onto James Barbour, Natalie Toro, and Jessica Rush. All three seemed to jump right out of the novel and onto the stage and individually moved me to tears with their portrayals.
Great review, and pictures! The set does look very cool, and you were so lucky to get a backstage tour. Personally, I like grandiose historical epics, but I understand what Michael’s saying about their time possibly having passed. I mean, The Pirate Queen didn’t do so hot. Still, this sounds good!
Yeah the theatre nerd in me loved the facts about the expensive casters and the wireless lighting. I got to talk to the Master Electrician and he told me he put over a mile of wiring into that set for the wireless lighting! Thanks again for your review. Your opinion on the show means a lot given your background. I’m glad it was such a great experience.
A Tale of Two Cities was simply stunning. A show like this needs to go on Broadway. Broadway needs a new show that doesn’t simply mock contemporary society. A Tale of Two Cities is something fresh and enjoyable. I do not understand how the show fits the description of a “grandiose historical pop opera” when A Tale of Two Cities has been exciting audiences all over Sarasota. When a production like this is able to leave entire audiences in awe when the final curtain closes, it is destined to be a success anywhere!
Spot on review, once again! I’ve seen the show twice now (Once in previews and again tonight) and I have to say that it’s been a while since I’ve been so moved by a production, as well. Being a fan of the story since high school, I simply love this show. The music is so well written and the cast, so committed. I especially love James Barbour and Jessica Rush as Sydney and Lucie, respectively. Musical theatre acting sometimes is a little too broadhanded (Natalie Toro sang for Jesus, but was a bit too melodramatic for my liking) but I thought that Mr. Barbour and Ms. Rush in particular were perfectly nuanced in the acting department with fully realized characterizations and, like Ms. Toro had amazing voices. The ensemble in general is really great. Some things can still be trimmed before Broadway bookwise, namely the prologue and a graveyard sequence (fun but pointless) but all in all a very exciting theatre piece with lots of promise!
Michael, thanks for your comment, but I’m afraid I have to disagree. Though the story may be epic in its size and complexity, this isn’t a show I would describe as “grandiose.” Granted, as in most musicals, there are several larger than life characters (Barsod, Mme. Defarge) but the actors portraying them and the material they have been given to perform are smart, committed to telling the story, and grounded in (seemingly) real emotion.
The scale of the set may seem grand, and the stakes are definitely high for these characters, but at its core it is a very moving, simple story of people making sacrifices for the good of others. Not so grandiose when you break it down.
With all the dumbed-down one-joke recycled musicals that are running right now, A Tale of Two Cities represents a chance to be engaged mentally and emotionally in an evening of theatre, rather than just going out to sit down, watch the story (if there is one) unfold and go home.
And I do hope it sees the lights of the West End eventually and is as great of a success there as it will be here.
Ok, off my soap box. I suppose only time will tell, but I’m remaining positive that Ms. Santoriello’s beautiful work of art will have the same affect on New Yorkers as it seems to have had on Floridians.
You know I’ll be following it every step of the way!!