Review of "The Mystery of Edwin Drood"

Charles Dickens’ last, unfinished, novel, The Mystery of Edwin Drood, seems like unlikely fodder for a musical, but in 1985 Rupert (“Pina Colada Song”) Holmes created such a theatrical piece that won multiple Tony Awards, including Best Musical. 

Instead of a straightforward murder mystery, with Holmes creating his own ending, the playwright (as well as composer) came up with the fun-filled idea of letting the audience decide the culprit.  So, Act I is the set-up, following the pages of the half-completed book and then the majority of Act II is a rowdy romp as suspects are identified, several key points are determined, and then the audience votes to unmask the scoundrel.  Adding more fuel to the boisterous proceedings is the backdrop for the production.  Again, with Rupert Holmes’ creative juices in high gear, he set the tale within the confines of a Victorian English Music Hall, sort of a play-within-a-play motif.   Performers step in and out of character as the musical moves forward in all its bawdy glory.

The story has all the ingredients of a classic murder mystery and is overseen by the Chairman of the Music Hall, one William Cartwright.  He serves as narrator, chief punster, and one of the players.  The plot begins with the protagonist, young Edwin Drood, who is betrothed to the beautiful Rosa Bud.  Drood’s somewhat demented, opium addicted uncle and choirmaster is in love with Edwin’s bride-to-be, who happens to also be his pupil.  A recent arrival from Ceylon, the petulant Neville Landless, also has his sights on the appealing Ms. Bud, much to the displeasure of her fiancé.  Other characters that potentially fall under suspicion are Helena Landless, the protective sister of Neville; the gentile Reverend Crisparkle; the mysterious Princess Puffer; Durdles, the perpetually inebriated cemetery worker; and even the lovely Rosa Bud.  All fall under suspicion after the youthful Drood doesn’t return home from an evening walk with Neville Landless on a stormy Christmas Eve night.

Rupert Holmes’ score is melodic and tuneful, full of robust compositions, charming ballads, and finely-crafted music hall ditties.  The lyrics are witty and full of amusing and entertaining word play.

The cast, a mix of experienced actors and students in the University of Connecticut’s acting program, is full of first-rate performers, all with handsome singing voices.  They are led by Emily Ferranti as the adventurous Edwin Drood.  She exudes a spirited confidence and possesses a powerful singing voice that gorgeously resonates throughout the Jorgensen auditorium.  Kurt Zischke is marvelous as the mischievous, impetuous, and off-color Chairman.  He needs to subversively insert himself into the production without causing the show’s tempo to slow or go off course.  The actor carries out this task with virtuosity and aplomb.  Bryan Mittelstadt is convincingly menacing as the lustful, slightly off-kilter John Jasper.  Graceann Brooks is alluring and refined as the much sought after Rosa Bud.  Mauricio Miranda gives Neville Landless an enigmatic air.  He is suitably combative as well as passionate, an excellent counterpoint to the other characters.  Kelly Lester brings a seasoned professionalism to the role of Princess Puffer, offering a perfect balance to the younger cast members.

Director Paul Mullins corrals an energetic cast that is clearly having a good time both on and off stage.  He keeps the dynamics flowing and seamlessly transitions the musical through a multitude of scenes.  Mullins also skillfully orchestrates the audience participation portion of the show, keeping this segment from teetering out of control.

Scenic Designer Alexander Woodward has fashioned over half a dozen sets that are modest in execution, but perfectly rendered for the music hall environs.

The Mystery of Edwin Drood, a crowd-pleasing musical, at the Connecticut Repertory Theatre through March 10^th.