Wildhorn's Monte Cristo

I had the opportunity to be in Salt Lake City this past weekend and opted to attend both performances of Frank Wildhorn's "The Count of Monte Cristo" on Saturday.  The evening performance was the last in the run, and both Saturday showings were sold out.  This was the US professional premier of Wilhorn's Monte Cristo, and the well attended run (according to other articles) seems to be a good sign of a possible future life for this show.

I was previously somewhat familiar with the music having heard portions of the 2008 concept recording, and after the matinee ended and having enjoyed the show a lot, I left looking forward to returning in the evening.  At each performance, I was entertained throughout - and the very polite audience seemed to share my experience.  I can't recall attending any recent performance, let alone any two, where there was so little objectionable behavior visible in the audience.  The applause was appreciative and even extended at times, with little to no whoops, hoots and whistles.

In my opinion, there was a lot to like and relatively little to criticize.  As is, I think the show could do well regionally and maybe even tour quite successfully.  Matt Farcher was the lead and has an amazing voice, and he was extremely well suited for this role.  He has the kind of voice that could (and I hope does) be cast as Valjean and/or Javert in a major production.  Briana Carlson-Goodman played Mercedes, and she was every bit as excellent as Matt Farcher was in his role.  The two were perfectly cast, and I'm trying - and failing to come up with two well-known actors I think would be equally as perfect.  As for Briana, I would love to see her portray Eliza Hamilton at some point as I think she would be excellent.  The song "When We Are Kings" was probably my favorite song, or rather, the seen as a whole was.  The scene wasn't quite the type of moment that ends up shattering you completely, but I don't think it would take much to get there.  There were were several other highlights too, and I enjoyed my entire time at both showings.

There were scenes I think can be improved (with future productions), and I hope the book-writer and director get together to identify and improve those scenes.  For me, the best example is how the comeuppances The Count orchestrates in the 2nd act are portrayed.  The impact on the audience was not as severe as I would like to see - and not as intense as I would like to feel.  The scene kind of played out to the audience with no real reaction in return (other than applause).  This could be much improved, where the audience's reaction is felt and the collective feelings known.

Overall, this production was wonderful, and I am very happy I got to experience it.....twice.

Well done, Pioneer Theatre Company!

 

Updated On: 5/23/16 at 04:23 PM

What Mr. Roxy forgets is there are examples of shows the critics didn't like that have gone on to have successful runs and there are shows of shows the critics like and did not go on to have successful runs.

Mr. Roxy forgets Frank Wildhorn's Jekyll & Hyde ran for 1,543 performances. I don't call that DOA.

Mr. Roxy forgets Frank Wildhorn's The Scarlet Pimpernel ran for 772 performances.

Yes, the other Wildhorn Broadway musicals have flopped, but this does not mean  he won't write another show that has a long run.

Mr Roxy said: "You said "little to criticize" . The problem is these rules do not apply to Wildhorn. Any Wildhorn show is dead on arrival on Broadway . The critics simply will not give him any chance of getting unbiased reviews so not waiting for it to make it here.

"

Whether any such "rules" are real or perceived, I didn't say or imply the show was destined for Broadway.  This show has had a life outside Broadway (in Europe and Asia), and now it may be kicking off another leg of its life in North America.  Landing on Broadway would be great, but it's not a requirement for success.

 

jomilo21 said: "A Director said: "
Mr. Roxy forgets Frank Wildhorn's Jekyll & Hyde ran for 1,543 performances. I don't call that DOA.

Mr. Roxy forgets Frank Wildhorn's The Scarlet Pimpernel ran for 772 performances.

"

Both still lost a lot of money...

 

I saw the US premier at Brigham Young University and even though the production in and of itself was good, you could tell the script and music had issues... Just my opinion... Don't really see it going anywhere. 

 

"

I loved Bonnie and Clyde and Jekyll & Hyde so I cannot wait for something new from him.  

A LOT of work has been done on the show since the student production at BYU.  Huge improvements have been made, and the book is much tighter.  I was pleasantly surprised how open the creative team seems to be to improve it.  Here's my review of the production:

https://www.broadwayworld.com/salt-lake-city/article/BWW-Review-Pioneer-Theatre-Companys-Premiere-of-THE-COUNT-OF-MONTE-CRISTO-Thrills-Through-Simple-Beauty-and-Restraint-20160509

It could be brilliant and wonderful but Wildhorn is unfortunately is not  in popular camp with critics.  Wildhorn shows are doomed on Broadway.  Bonnie and Clyde was much loved by the public and people on this board  but the critics made sure that would end quickly.  And it did.

 

Broadway can be a very unfair place. Ivan Van Howe can do no wrong. Bartlett Sher can do no wrong.Wildhorn can do no right when it comes to critics.

 

It''s sad but true. Wildhorn doesn't have a chance on Broadway. Luckily for him, his shows run forever in Korea.