The Broadway-aimed musical by Jill Santoriello that draws on the famous 1859 novel by Charles Dickens, played a sold-out run in the regional tryout at Asolo Repertory Theatre's 500-seat Mertz Theatre. Standing-room tickets were sold for the hot engagement.
Previews for the tryout began Oct. 13 as a production by the not-for-profit Asolo, in partnership with the commercial producers. The producers hope for a Broadway bow in spring 2008, but no date has been announced.
The show had two opening nights — each followed by a novel-themed afterglow — Oct. 26-27 in Florida. The Oct. 26 performance/gala was London-themed; the Oct. 27 gala gave a nod to Paris. The show was sold out as of Oct. 27, a spokesperson said.
In the weeks leading up to the opening, Asolo's producing artistic director Michael Donald Edwards (who directs the show) worked with composer-lyricist-librettist Santoriello and Tony Award-winning designer Tony Walton and a cast that includes James Barbour (Broadway's Assassins, Jane Eyre) as Sydney Carton, Derek Keeling ("Grease: You're the One That I Want") as Charles Darnay and Jessica Rush (who appeared in Gypsy at City Center) as Lucie Manette, fleshing out Dickens' "best of times" and "worst of times." Edwards told Playbill.com, "Having Tale of Two Cities here at Asolo Rep has galvanized theatre in Sarasota. It has blown the roof off our theatre; the show is going great gangbusters. It is a thrilling phenomenon creating unparalleled excitement in our community. The show's great success has brought in an influx of new patrons and as a result a new subscriber base for our theatre."
Reviews in Florida were mixed, with the local critic Jay Handelman (also repped in Variety) wishing more attention had been paid to the young French aristocrat of the plot, Darnay. Barbour is positioned as the show's focus.
If Santoriello is not yet a household name, the show's title certainly is. The first 12 words of the 19th-century novel are some of the best known in the English language: "It was the best of times, it was the worst of times…" And a certain guillotine scene offers this famous declaration: "It is a far, far better thing that I do, than I have ever done; it is a far, far better rest that I go to than I have ever known."
The novel is required reading in many American schools. When Dr. Manette is released from the French Bastille after 17 years, he must be resurrected from the brink of madness by his daughter, Lucie. In England they meet the exiled French aristocrat, Charles Darnay, whom Lucie marries, and the drunken cynic, Sydney Carton. Family secrets and political intrigue combine to draw Lucie and her family back to Paris. At the height of the Reign of Terror, the musical finds an unlikely hero in Carton, inspired by love to make an extraordinary sacrifice.
Director Edwards' resume includes The Barber of Seville and Aida for the Metropolitan Opera, new productions of Un Ballo in Maschera and Carmen for Opera San Jose, and many resident opera, musical and play stagings around the country and in his native Australia (at The Australian Opera, among other companies).
In July 2006, the busy Edwards took over as producing artistic director of Asolo Repertory Theatre in Sarasota.
Barbour is a veteran of Broadway's Beauty and the Beast, Assassins and Jane Eyre, among other shows.
Principal casting also includes Craig Bennett (once of Broadway's Miss Saigon) as Jerry Cruncher, Joe Cassidy (an original cast member of Make Me a Song) as Ernest Defarge, Michael Hayward-Jones (Broadway's Me and My Girl) as Jarvis Lorry, Katherine McGrath (Broadway's recent The Music Man) as Miss Pross, Alex Santoriello (Les Miz) as Dr. Manette, Natalie Toro (a former Broadway Eponine in Les Misérables) as Madame Defarge, Nick Wyman (a popular Thenardier in Broadway's Les Misérables) as John Barsad, with Janine DiVita as a Young French Woman, Kevin Greene (also a vet of "Grease: You're the One That I Want") as Gabelle, Tim Hartman as Attorney General, Alex Howley as Seamstress, Jodie Langel (Les Miz) as Mrs. Cruncher, Jay Lusteck as Judge, Les Minski as Marquis St. Evremonde, Catherine Missal as Little Lucie, Walter Winston Oneil (Broadway's Wicked) as Cronie, Rob Richardson (national tour of Show Boat) as Gaspard, Rebecca Robbins (of The New Moon at Encores!) as Mrs. Cruncher, Wayne Schroder (MSG's A Christmas Carol) as C.J. Stryver, Owen Teague as Little Gaspard, with Shane Austin, and Matt Brown, Richard Caldwell, Ryan Clark, Juan Javier Cardenas, Karis Danish, Kim Fanok, Ryan Fitts, Amy E. Gray, Marcus Denard Johnson, Troy Lewis, Jennifer Logue, Bruce Compton Merkle, Stephen Missal. Kim Vernace is the production stage manager.
The producers for the commercial production that is expected to emerge from this not-for-profit tryout are executive producers Barbra Russell and Ron Sharpe and producers Sharon A. Fordham, Theatre Associates/David Sonnenberg, The Monagle Group, Fanok Entertainment, Gasperino Entertainment, Mary E. Laminack, Vincent Russell and William M. Broderick, Harry Casey, David Bryant, Edward B. Kessel.
The 25-actor, $12 million show has book, music and lyrics by Jill Santoriello, who fell in love with the Dickens novel — about lovers, family, friends and rebels in London and Paris during the French Revolution — when she was in her teen years. Santoriello is a commercial musical theatre newcomer whose day job for years has been in programming for Showtime Networks. She is an alumnus of The BMI-Lehman Engel Musical Theatre Workshop.
Warren Carlyle (whose work at Encores! has been embraced) created the musical staging/choreography for A Tale of Two Cities.
The creative team includes Tony Walton (scenic design), David Zinn (costume design), Richard Pilbrow (lighting design) and Carl Casella and Domonic Sack (sound design). Wendy Bobbit Cavett is musical supervisor and arranger. Musical direction is by Jerry Steichen; orchestrations are by Edward B. Kessel and Bob Krogstad. Hair and wig design are by Tom Watson. Casting is by Barry Moss and Bob Kale.
Although A Tale of Two Cities is said to be Broadway-aimed, that goal is contingent on a number of factors — including an available Broadway theatre.
Set during the French Revolution and bouncing between London and Paris, A Tale of Two Cities "is the recounting of one of the most electrifying love stories ever written told against the backdrop of one of the most terrifying eras in human history," according to the producers. "The musical's sweeping score embodies the emotional pyrotechnics that ceaselessly explode throughout the show's breathtaking two hours. This is an emotionally drenched evening that encompasses unconscionable conspiracies, life-threatening schemes, countless betrayals, secret designs, complete political upheaval, pre-meditated mass murder, mob violence, survival against inhuman odds, unconditional love, unrequited love, indescribable love, heroic courage, breathless bravery and human sacrifice."
In its development, the musical A Tale of Two Cities was a finalist in the Eugene O'Neill Center Musical Theatre Workshop and was heard in a premiere symphonic concert in Indianapolis featuring a 40-piece orchestra and a 50-voice chorale (narrated by Richard Kiley).
Santoriello calls the show a traditional book musical that is not all-sung — it's not a "pop opera." A casual listener of the concept recording will hear music and lyrics in the lush pop tradition of Les Miz, Jane Eyre, The Phantom of the Opera and The Scarlet Pimpernel.
A fan of the Rodgers and Hammerstein tradition (and later of Stephen Sondheim), Santoriello said she thought years ago (when she was a high-schooler, in fact) that "A Tale of Two Cities" would make a great musical.
She wasn't alone. There have been countless international musical versions of the story over the past century, though none has become a widely-known commercial hit.
In 1987, Santoriello, who is a self-taught musician, used songs she wrote for a formative version of the show to audition and get into the prestigious BMI Lehman Engel Musical Theatre Workshop.
What about "A Tale of Two Cities" speaks most strongly to Santoriello?
"Love being stronger than hate," the writer previously told Playbill.com. "And how heroes come out of the strangest places."