It’s surprising that “The Count of Monte Cristo,” Alexandre Dumas’s classic story of revenge—and ultimately forgiveness—has had little life on stage. Given that the original work, first published in 1846, is so sprawling, any attempt to tell it properly is a challenge—one that writer Peter Kellogg doesn’t always meet in the York Theatre’s current offering, “Monte Cristo: A New Musical.”
Based on the Dumas tale and an 1868 stage version by Charles Fechter, the production begins promisingly enough, with Anne Mundell’s bleak and forbidding set. Also helping set the tone is the ominous number “Dangerous Times.” France in 1815 was a powder keg as the exiled Napoleon Bonaparte was plotting a return to power, and the fragile government has eyes everywhere. Saying the wrong thing might result in a death sentence.
Amid these uncertain times, things are looking up for the young sailor Edmund Dantes (Adam Jacobs). After the sudden death of his captain at sea, he brings the ship safely to its home port. In gratitude, his employer plans to reward him with his own command. The money from his new position will allow him to marry his true love, the beautiful Mercedes (Sierra Boggess).
Edmund’s good fortune sparks jealousy elsewhere, including from Mercedes’s cousin Fernand (Daniel Yearwood), who also loves her, and the ship’s purser Danglars (James Judy) who resents Edmund’s sudden advancement over him. Together, they plot to frame Edmund as a traitor. When they succeed, the deputy prosecutor Villefort (Norm Lewis) realizes the full implications of the accusations and how they could affect his own family. To prevent this, he has Edmund—whom he knows to be innocent—imprisoned for life in an island fortress.
In the depths of despair, Edmund finds an unexpected companion in fellow prisoner and learned priest, Abbe Faria (Danny Rutigliano). Versed in economics, religion, languages, chess, and fencing, the older man spends the next 18 years teaching his willing pupil. All the while, the two dig a tunnel in hopes of escape. Shortly before their attempt, Faria collapses and dies, but not before he tells of a vast treasure hidden on the tiny island of Monte Cristo. After escaping, Edmund finds the fortune and begins plotting revenge on those who betrayed him.
The first act stays close to the original story, though it changes a few significant plot points. It’s also interesting that the script gives Fernand and Villefort clear emotional depth, portraying them as morally weak rather than purely villainous.
It’s in the second act that the storytelling falters. Plotlines are jettisoned, characters discarded, and others added, culminating in two overly expository scenes that try too hard to tie everything together. After watching Edmund lose everything, the vengeance he takes—or, in some cases, ultimately forgoes—feels rushed without sufficient emotional buildup. The production deserves credit, though, for including Haydée (Stephanie Jae Park), a character often omitted, even if her fate here feels contrived.
Also jarring are certain comedic sequences, especially those featuring a drunken innkeeper (Rutigliano) and his long-suffering wife (Karen Ziemba). While funny and well-acted, they clash with a story focused on the destructive forces of envy, gluttony, and greed—and the realization that revenge can consume anyone, even the most righteous.
Conversely, the score, with lyrics by Kellogg and music by Stephen Weiner, is excellent. Highlights include “A Great and Noble Man” (Lewis); “This Stupid Heart of Mine” and “How Did I Get So Far Away” (Boggess); and “Haydee’s Story” (Park). Also enjoyable is “He Calls Himself the Count of Monte Cristo,” a sort of theatrical telephone game in which Parisians speculate about the mysterious count.
Casting is strong across the board. Jacobs fits nicely as Edmund, an innocent transformed by vengeance. Boggess powerfully portrays Mercedes as a woman forced into a heart-wrenching decision when her true love disappears. Lewis and Yearwood are effective in their roles, although one wishes Lewis had more to do.
Costumes by Siena Zoë Allen and Amanda Roberge are quite good. Direction by Peter Flynn works well, though he’s hamstrung by a story that works better in episodes than as a cohesive whole.
Thanks to the score and performances, “Monte Cristo” is definitely worth seeing, but further work on the book would strengthen it before a future engagement.
‘Monte Cristo: A New Musical’
The York Theatre
Theatre at St. Jean’s
150 East 76th Street, New York City
Tickets: YorkTheatre.org
Running time: 2 hours, 20 minutes (one intermission)
Closes: April 5, 2026
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