PROVO — Bluebird Theatre Company’s latest show is The Count, a new adaptation of the famous book, The Count of Monte Cristo by Alexandre Dumas. Adapted by Seth Chris Johnson and directed by Julia Patrice Taylor, this new production company tackles a timeless tale of revenge with heart, talent, and youthful spirit.
For anyone familiar with The Count of Monte Cristo from the well-known 2002 film starring Jim Caviezel and Guy Pearce, it is worth noting that this production is an adaptation of the book, whose plot significantly differs from the movie. While the premise of a betrayed, innocent Edmond Dantes seeking revenge after many years of false imprisonment is still intact, the second act might seem less recognizable to movie-lovers. This script is college student Seth Chris Johnson’s first play, and it’s a mighty undertaking. The massiveness of the 1,200 page French novel alone elicits commendation for this attempt, not even considering the intricacy of the tale. However, Seth Johnson has risen to the challenge and has put in the time to capture the swashbuckling essence of Monte Cristo, effectively evoking the adventurous spirit of the original.
Performed in the beautiful mountains of Provo, Castle Amphitheatre is a uniquely fitting venue for this production. It is intimate, historic, and full of life. The natural backdrop of a sunset, a distant lightning storm, and an occasional flock of birds seamlessly amplified the heart of this tale. The venue, combined with the simple yet imaginative set design by Julia Patrice Taylor and Roe Goade, powerfully transports audiences to 19th century Europe.
In line with the production’s location, the cast of the show is small, yet extremely versatile. Under the direction of Taylor, the cast of six each play numerous characters. Playwright Seth Johnson also stars as The Count, showcasing his first-hand familiarity with the monologue-heavy script. Johnson in this role is passionate, determined, and intrepid. His Edmond is mostly fearless, partly because Edmond is a narrator to the audience throughout the play. Johnson’s structure of the story in this way influences his portrayal of the character, accentuating his regret more than his innocence. This lens of both writing and portraying Edmond offers a unique perspective to audiences not often seen in Monte Cristo.
Johnson’s five acting companions each bring unique talents of their own to their many roles. Ethan Freestone as Danglars, Faria, Albert and Others is adept at distinguishing his roles by intensity and tone. Freestone as Danglars is sharp-tongued and ready to spit fire, while as Faria he is quirky and charming. Freestone’s signature ability to make his eyes pop, as well as propel spit with his highly-enunciated lines simultaneously draws audiences in and physically draws them back with humor and delight.
Matching Freestone’s energetic portrayals of multiple characters is Isaac Dorton as Fernand and Others. Where Freestone shines verbally, Dorton is masterful at transforming himself into various characters with physical adjustments. Dorton’s detailed embodiment of Fernand crafts a delicious villain, even down to the deliberately infuriating snapping of his fingers. Additionally, Dorton’s skill in fight scenes, especially with combat choreographer and lead Seth Johnson, brings a heightened intensity to the stage.
Speaking of intense, Maryn Renee Christensen as Mercedes, Villefort, and Others maintains high volume deliveries for each of her roles. This works particularly well for the heavily-French-accented head prosecutor Villefort, another villain in Edmond’s path. However, Christensen’s consistently boisterous projection of her voice often overshadows the emotionally dynamic moments in the script, particularly with her portrayal of Mercedes.
Christensen’s ability does shine through in the costumes that she designed for the production. In line with the rest of the production, subtle design elements create immense results in distinguishing characters for the audience. Each actor wears a scarf-length piece of fabric over their generic sailor-esque attire, and they adjust how it is worn in order to convey a new character onstage. This simple element is both extremely effective and emblematic of how powerful theatre can be made from creative thinking and just a piece of cloth.
To round out the talented cast is Roe Goade and Guy Johnson. Goade plays Haydee and Others, shining on the stage in Act Two as sparks begin to fly between her and Seth Johnson. Guy Johnson makes his acting debut in this production as Jacopo and Others. Guy Johnson’s Jacopo brings an extremely grounded presence onto the stage, beautifully balancing the other eccentric characters. In fact, by Act Two, Guy Johnson’s performance is often a breath of fresh, realistic air.
This feat of a script and a production only seems to struggle with the episodic structure of Dumas’ original work, resulting in jerky pacing at times. Continued refinement of the script, along with heightened directorial attention to pacing, will allow future productions of The Count to soar even higher. Overall, anything The Count lacks in polish it makes up for in heart, talent, and youthful spirit. I recommend joining the adventure outdoors before your time runs out!
MORE INFO: The Count performs three more shows this week until Saturday, September 5th. Each performance is at 7:30pm at the Castle Amphitheater (1300 East Center Street, Provo, UT, USA). Tickets range from $12-$17 and are available to purchase here. For more information about Bluebird Theatre Company or this production, visit their instagram page here.
FOLLOW US ON FACEBOOK, INSTAGRAM, and TIKTOK!
If you’re a director, producer or marketing contact who would like to have us review your show, please fill out this form.
If you have comments about this article, please fill out this form.