Monte Cristo ★★★

When Alexandre Dumas adapted his serialized novel The Count of Monte Cristo for the stage in 1848, he and co-writer Auguste Maquet created a set of — count’em — four plays to cover the material, and the first two plays were feats of endurance, each running from 6pm till midnight for two nights. That translates to 12 hours of theater to cover just a quarter of the story.

Ah mon Dieu!

Almost two centuries later, Monte Cristo has arrived at the York Theatre, and not only is the count missing from the title, so are many characters and storylines. Just as well, as this musicalized take on the story, adapted from Dumas’ book and Charles Fechter’s 1868 five-act stage version, runs a relatively brisk 2.5 hours, including an interval. Though now far more reasonable in duration than the original French stage adaptations, this production must contend with the fact that there’s still far too much plot to condense and do the story justice.

A soupçon of the plot: As Napoleon comes in and out of exile, French citizens are anxious about the nation’s stability, and distrust is in the air. Edmund Dantès (Adam Jacobs), a young sailor, gets caught up in the madness and is falsely imprisoned for treason on his wedding day due to a set-up by jealous rivals. After 18 years he escapes from prison, and once free he locates a treasure thanks to his teacher and mentor Abbe Faria (Danny Rutigliano, endearingly funny), a fellow prisoner who revealed the treasure’s hiding place on his deathbed.

That’s act one.

In the second, we learn that with his newfound wealth, Edmund has purchased the island of Monte Cristo and the title of Count (Edmund’s preferred alias, of several). Thus, it’s as the mysterious Count of Monte Cristo that Edmund returns to exact revenge on those who betrayed him, including Fernand (Daniel Yearwood), who married Edmund’s fiancée Mercedes (Sierra Boggess, the show’s MVP) soon after Edmund was incarcerated.

There’s more. Lots more. But that’s the gist.

This adaptation, created by writer Peter Kellogg and composer Stephen Weiner, struggles to make the material fit in the classic American musical mold; the result is a tonal seesaw where desperation and revenge too often give way to comedic interplay or potential romance between less important characters. In the second act, right when vengeance should be the focus, the production’s best number arrives, a hilarious song called “You Have the Wrong Man,” performed by Jacobs, Rutigliano, and the invaluable Karen Ziemba. It’s great, but it feels thematically off and momentarily derails the narrative.

Also, with its historical and epic sweep, the production can’t help but remind theatergoers of other musicals that have become beloved staples, including Sweeney Todd (falsely imprisoned man loses his wife and child and returns for vengeance) and Les Misérables, the ‘80s megamusical set in France based on Victor Hugo’s novel that was published just a few years after Dumas’ tale made its mark. Unfortunately, the comparisons find this show wanting.

But enough whingeing. There are distinct pleasures to be had.

The score is enjoyable, the singing gorgeous. Boggess not only hits the high notes with glorious clarity; she makes sure every word can be understood. Jacobs also acquits himself well, and when he and Boggess sing together, the music soars. (Also, and not to diminish their performances here, where else can you see the stars who originated the title roles of the Broadway productions of The Little Mermaid and Aladdin duet?)

If that duo weren’t enough, there’s also the aforementioned Ziemba and Norm Lewis, whose rich baritone is a treasure that is thankfully never buried. Both of these veteran actors are underutilized, but when they’re onstage, their presence is most welcome. And special mention must be given to Stephanie Jae Park, who’s given one big solo number and commands the moment with her steely, still presence.

Other pluses: Director Peter Flynn never lets the show drag, the gorgeous costumes by Siena Zoë Allen and Amanda Roberge dazzle the eye, and the orchestra, under the direction of David Hancock Turner, sounds great. All in all, the evening is never less than pleasant, and what is clear is that with some judicious editing, Monte Cristo still has potential waiting to be unearthed.