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EspañolTHE MYSTERY OF EDWIN DROOD (MUSICAL)
'''Drood''' (originally called '''The Mystery of Edwin Drood''') is a musical based on the Charles Dickens novel of the same name. Historically, it was the first instance in recent years of a Broadway musical with book, music, and lyrics all by the same creator (Rupert Holmes), and the first Broadway musical with multiple endings (determined by audience vote.)
The musical first debuted as part of the New York Shakespeare Festival in August of 1985, and, following revision, transferred to Broadway, where it ran until May of 1987. Two national tours and a major production in London's West End followed. Though the show has yet to have a Broadway revival, it continues to be popular with regional, amateur, and student theater companies.
History
Inspirations
The musical ''Drood'' is derived from three major inspirations: Charles Dickens's final novel, ''The Mystery of Edwin Drood'', and the British pantomime and music hall traditions that reached the height of their popularity in the years following Dickens's death.
Dickens's "''Mystery''" began publication in 1870. The book, which had been written and published in episodic installments (as had most of Dickens's other novels) was left unfinished upon Dickens's sudden death from a stroke that year. The lack of resolution to the mystery (and the absence of notes that would indicate Dickens's intentions) have made ''The Mystery of Edwin Drood'' a literary curiosity. Almost immediately after the publication of Dickens's last episode, various authors and playwrights (including Dickens's own son) attempted to resolve the story with their own endings:[1] by the time of the ''Drood'' musical's production, there had been several "collaborations" between the late Dickens and other novelists, numerous theatrical extrapolations of the material, and three film adaptations of the story.[2]
Contemporaneous with Dickens's writing, British pantomime styles- distinguished by the importance of audience participation and conventions like the principal boy- reached their height of popularity, just as music hall performance- with its attributes of raucous, risque comedy and a distinctive style of music- began to achieve prominence.
Rupert Holmes, who would go on to be the major creative contributor to the musical ''Drood'', spent his early childhood in England. At age three, he would experience theater for the first time when he was taken to a modern "panto," complete with cross-dressing lead boy and audience sing-alongs. Some years later, as an 11-year-old boy fascinated by mystery books, Holmes first discovered the unfinished Dickens novel. Both of those seminal experiences would go on to have a major impact on Holmes when he was first approached to write a new musical by impresario Joseph Papp.[3]
Conception
Holmes, a well-known popular songwriter whose songs had been performed by the likes of Barbra Streisand, and who had himself recorded the #1 hit "Escape (The Pina Colada Song)" in 1979, first became interested in writing a musical in 1983. Following a nightclub appearance during which Holmes performed some of his "story-songs" while sharing humorous anecdotes, Holmes received a note from Gail Merrifield, director of play development at the New York Shakespeare Festival (and wife of Joseph Papp, the creator and head of the Festival), who had seen Holmes's performance and suggested that he write a full-length musical.[4].
Drawing on his recollections of pantomime and Dickens's novel, as well as later experiences with Victorian-style music hall performance, Holmes conceived of the central premises of the show. From the Dickens work, Holmes took the central plot and most of the featured characters. From music hall traditions, he created the lead character of "The Chairman," a sort of Master of Ceremonies and instigator of the action on stage. And from pantomime he retained the concept of the "Lead Boy" (always portrayed by a young female in male drag) and what would become the most ground-breaking aspect of the show- audience participation.
''Drood'' was unusual in part because of Holmes's feat of writing the book, music, lyrics, and full orchestrations for the show, something that Holmes believed no creator had done before on Broadway,[5] although, in fact, earlier songwriters, such as Adolf Philipp, had written their own books for their musicals.[6] In writing the book, Holmes did not let Dickens overshadow his own intentions. Rather than imitate Dickens's writing style, which he felt would be too bleak for the kind of show he wished to write, Holmes employed the familiar device of a "show-within-a-show." The cast members of ''Drood'' do not specifically play Dickens's characters, but rather music hall performers who are performing as Dickens's characters. This device allowed for a great deal of light comedy that was not originally found in Dickens's novel to be incorporated into the show, as well as several musical numbers that were unrelated to the original story. In explaining this decision, Holmes was quoted as saying, "This is not Nicholas Nickleby set to music--it's not a Dickensian work. It's light and fun and entertaining. But I hope--I think--that Dickens would have enjoyed it." [4] Holmes has also pointed out that "It has the same relationship to Dickens that ''Kiss Me Kate'' does to ''The Taming of the Shrew''." [5] The pantomime concept also allowed Holmes to employ a female in the lead male role, which further allowed him to write a love song designed to be sung by two sopranos.
Most inventively, Holmes employed a novel method of determining the outcome of the play: having the audience vote for an ending. At a break in the show, the audience votes on who killed Drood (if, indeed, he was killed at all), the identity of the mysterious Dick Datchery, and on which two characters will become romantically involved in the end, creating a happy ending. Since every audience differs in temperament, the outcome is theoretically unpredictable even to the actors, who must quickly tally the votes and commence with the chosen ending (although some smaller companies will "fix" the results to limit the number of possible endings). This device required extra work from Holmes, who had to write numerous short endings which covered every possible voting outcome.
After writing an initial draft that lasted three-and-a-half hours, he performed the entire show solo for Papp, Merrifield, and Wilford Leach, the Festival's artistic director. Papp then offered to produce the show as part of the Festival (also known as "Shakespeare in the Park"), and told Holmes that it would be immediately transferred to Broadway if it was deemed a success. [3]
Synopsis
;Act I
At London's Music Hall Royale, preparations are underway for the premiere performance of the resident troupe's version of "The Mystery of Edwin Drood." Members of the troupe (who venture out into the seats) explain to audience members the historical details of Dickens's untimely demise, as well as the role the audience will play in determining the outcome. From various locations in the theater, the cast members perform the opening number, "There You Are." The Chairman, a kind of Master of Ceremonies, informs attendees that this is going to be an unusual production, invites all to be as "vulgar and uncivilized as legally possible." With this announcement, the play-within-the-play gets underway.
The first Dickens character introduced is the choirmaster John Jasper, a "respectable" member of society who shares with the audience the fact that he actually suffers from inner torment with the song "A Man Could Go Quite Mad." Next to be introduced is Jasper's nephew, Edwin Drood (whom the Chairman reveals is being played by the famous male impersonator Miss Alice Nutting), who discusses his impending arranged marriage to Rosa Bud with Jasper, as well as his plans to leave for Egypt after the wedding ("Two Kinsmen").
Drood's fiancee, Rosa Budd, is then introduced at the "Nun's House," (a ladies' seminary). It is her birthday, and Jasper, her music tutor, has composed a song for Rosa ("Moonfall") which he insists on hearing her sing. During the encore, two orphans from Ceylon, Neville and Helena Landless, enter with the Reverand Crisparkle. After Rosa faints from the lustful lyrics of Jasper's song, Helena comes to her aid while Neville displays an attraction to Rosa ("Moonfall Quartet"). Next to introduce herself is Princess Puffer, the madame of an opium den ("The Wages of Sin"). Shockingly, we see that respectable Jasper is himself a customer of the den, and as he dreams of Drood and Rosa, Puffer reacts to their names.
The following day, Rev. Crisparkle introduces Edwin and the Landless twins. When Drood shares his plan to pave a desert highway with stones from the Egyptian pyramids, he offends his new rival Neville and his sister: the three then proceed to argue in song ("Ceylon"). When Jasper enters with Mayor Sapsea, he points out to the mayor that everything is not always what it seems, and the two sing "Both Sides of the Coin."
Drug-crazed Jasper sneaks around the crypts, where he obtains a key to one of the chambers. Afterwards, Edwin and Rosa reveal that they both have strong misgivings about their upcoming nuptials ("Perfect Strangers"), and decide to break off their wedding plans- but not to tell anyone until after the Christmas holiday. At the home of a now-sober Jasper, the major players join together to celebrate Christmas dinner, but all is not jolly as the rivalries and dark motivations of all are revealed in the song "No Good Can Come From Bad." Edwin and Neville, both drunk, heading out to the river as the others depart, and Jasper offers his topcoat to Edwin.
The following day, Edwin has disappeared, and Crisparkle's assistant Bazzard, has found Jasper's coat- torn and bloodied. Drood is presumed murdered, and Neville is the chief suspect. Bazzard takes a moment to lament his own failures ("Never the Luck"), but remains optimistic. Though Neville is captured, he is soon released. Meanwhile, Jasper admits to Rosa that he is in love with her. An angry Rosa turns on Jasper ("The Name of Love"), which leads into a reprise of "Moonfall."
;Act II
Six months later, Edwin Drood is still missing, and Princess Puffer and an associate, Datchery, have arrived to solve the mystery of Edwin's disappearance ("Settling Up The Score"). At this moment, the Chairman returns with Deputy and Durdles to remind the audience to pay attention to the clues ("Off to the Races").
While looking for Jasper, Puffer meets Rosa Budd, and, joined by the rest of the cast, tells her not to give up her ambitions ("Don't Quit While You're Ahead") Abruptly, in the middle of the song, all stops= this is as far as Dickens got before he died. It is now time for the audience to decide how the story ends. First it must be determined whether Edwin is actually dead or not. It turns out that Alice Nutting, female impersonator, has been wearing the Datchery costume in order to fulfill her contract to appear in two acts of the play- but are Datchery and Drood one and the same? The cast votes unanimously that Drood is, indeed, dead. Alice, before being sent off, angrily tells the cast that they were all jealous of her, and that that is the only reason why she is being dismissed. After her exit, the Chairman reveals the truth: Alice was a pain- but now it remains to be determined who Datchery truly is. The audience votes for a new Datchery by applause (anyone who has already appeared in scenes with him is ruled out) and the actor goes to make a costume change for the finale.
Next to be determined is the murderer. The Chairman runs down the list of possible murderers and their motives for the crime. The audience is asked to vote by "districts" for the killer, and while the votes are tallied a reprise of "Settling Up The Score" leads into the resolution of The Mystery.
Puffer finds Rosa in the cathedral and reveals that, years before, she had been Rosa's nanny ("The Garden Path To Hell"). She continues with "Puffer's Confession" and reveals the identity of Datchery (previously chosen by the audience.) The evening's Datchery (either Bazzard, Reverend Crisparkle, Helena, Neville, or Rosa) sings "Out On A Limerick," explaining why he or she wants to find the killer, and promptly accuses Jasper of being the murderer. Jasper soon admits that he strangled his nephew while in an opium haze ("Jasper's Confession"). Durdles the gravedigger, however, disagrees- he witnessed the crime and knows who truly killed Edwin Drood. Depending on the audience's vote, the finger is pointed at Bazzard, Crisparkle, Helena, Neville, Puffer or Rosa. The murderer confesses, then sings a reprise of one of several numbers to admit his or her culpability.
Still, though, a happy ending is needed, and the Chairman asks the audience to choose two lovers from among the remaining cast members. The two chosen members declare their love, and then reprise "Perfect Strangers." But wait! There comes a noise from the crypt, and a very-much-alive Edwin Drood appears, ready to tell all what really happened on the night of his disappearance ("The Writing On The Wall"). The mystery is solved. and the company takes their bows while singing a reprise of "Don't Quit While You're Ahead."
Differences between the novel and the musical
There are several major and minor differences between the musical and the novel. Most importantly, the tone of Dickens's original book was somewhat bleak (as was Dickens's style), whereas the show is considerably more lighthearted and played for comedy. The most notable difference between the characterizations in the two pieces involve Jasper: though Dickens's character is undoubtedly repressed and troubled, he is not depicted with the full-fledged split personality that he appears to have in the musical. Several minor characters are omitted, and the roles of others are expanded. In the musical, Bazzard is Crisparkle's assistant, whereas in the novel he is employed by Rosa's guardian, Mr. Grewgious. Meanwhile, in order to increase the interactivity of the play and introduce doubt as to whom the murderer is, the musical omits several of the novel's clues that Jasper is the killer and introduces clues which do not appear in the novel pointing at other suspects.
Characters/Multiple casting
As ''Drood'' is metatheatrical, the characters of the play "The Mystery of Edwin Drood" are played by actors of the Theatre Royale, within the production. The following are the dual (or triple) roles each cast member plays:
★ Mayor Sapsea: The Chairman (who takes over the role at short notice)
★ Edwin Drood/the first Datchery: Miss Alice Nutting
★ Rosa Budd: Miss Deirdre Peregrine
★ John Jasper: Mr. Clive Paget
★ The Princess Puffer: Miss Angela Prysock
★ The Rev. Crisparkle: Mr. Cedric Moncrieffe
★ Neville Landless: Mr. Victor Grinstead
★ Helena Landless: Miss Janet Conover
★ Bazzard/The Waiter (in "No Good Can Come From Bad"): Mr. Philip Bax
★ Durdles/The Deputy: Mr. Nick Cricker
★ Horace: Mr. Nicholas Michael
Musical Numbers
;Act I ★ There You Are (Chairman, Angela, Deirdre, Alice, Clive, Company) ★ A Man Could Go Quite Mad (Jasper) ★ Two Kinsmen (Jasper and Drood) ★ Moonfall (Rosa) ★ Moonfall (Reprise) (Rosa, Helena, Alice and Beatrice) ★ ★ Moonfall Quartet (Rosa, Helena, Jasper, Neville) ★ The Wages of Sin (Puffer) ★ Jasper's Vision (dream ballet) ★ ★ Ceylon (Drood, Rosa, Helena, Neville, Company) ★ Both Sides of the Coin (Sapsea and Jasper) ★ Perfect Strangers (Rosa and Drood) ★ No Good Can Come From Bad (Jasper, Rosa, Drood, Neville, Helena, Crisparkle, Waiter) ★ Never the Luck (Bax/Bazzard, Company) ★ The Name of Love/Moonfall (Jasper, Rosa, Company) | ;Act II ★ Settling Up the Score (Puffer, Datchery, Company) ★ Off to the Races (Sapsea, Durdles, Deputy, Company) ★ Don't Quit While You're Ahead (Puffer, Datchery, Company) ★ Don't Quit While You're Ahead (Reprise) ★ (Company) ★ Settling Up the Score (Reprise)(Chairman, Suspects, Company) ★ ★ The Garden Path to Hell (Puffer) ★ Puffer's Revelation (Puffer) ★ ★ Out on a Limerick (Datchery) This song is performed by a different actor each night, depending upon audience vote. ★ Jasper's Confession (Jasper) ★ Murderer's Confession This song is performed by a different actor each night, depending upon audience vote, or alternately, not performed at all if the audience has voted for Jasper. ★ Perfect Strangers (reprise) This song is performed by a different pair of actors every night, depending upon audience vote. ★ ★ The Writing on the Wall (Drood, Company) |
★
The version of ''Drood'' that Tams-Witmark licenses to theater companies does not include "A Man Could Go Quite Mad," "Ceylon," "Settling Up the Score," or the quartet reprise of "Moonfall," though they are provided as "additional material" and theaters can choose whether or not to use those songs in their productions. [10]
Productions
The original production of ''The Mystery of Edwin Drood'' premiered in New York City's Central Park at the Delacorte Theatre on August 21 1985 after only three weeks of rehearsals. Notably, Holmes, who had written the book, music, and lyrics of the show, had also conceived most of the orchestrations himself, a rarity for a Broadway composer.
After the final Festival performance on September 1, preparations for the Broadway transfer (retaining the original cast) immediately got underway. After a great deal of editing (the Delacorte version contained 32 original songs and was nearly three hours long)[5] ''The Mystery of Edwin Drood'' opened on Broadway at the Imperial Theatre on December 2, 1985. Roughly halfway through the run, the title of the musical was officially shortened to ''Drood'' (a name it continues to be licensed under). The show ran for 608 performances (not including 24 previews), and closed on May 16, 1987. The Broadway production was produced by Papp and directed by Leach, with choreography by Graciela Daniele.
The opening night cast of the Broadway production starred George Rose, Cleo Laine, John Herrera, Howard McGillin, Patti Cohenour, and Jana Schneider, who were all nominated for 1986 Tony Awards for their performances, as well as Betty Buckley in the title role. Donna Murphy, Judy Kuhn, and Rob Marshall were also members of the ensemble. (Marshall, who would later become best known as a choreographer and theater/film director, also received an early choreography credit as assistant to Daniele.) Before the show ended its run, Murphy, who was Buckley's understudy, took over the latter's roles, and was then herself replaced by Paige O'Hara. Other notable replacements during the show's run included Alison Fraser (taking over for Jana Schneider), as well as Loretta Swit and later Karen Morrow, who stepped into Laine's roles. [12]
In 1988, several months after closing on Broadway, a slightly-revised version of ''Drood'' began its first North America tour at the Kennedy Center Opera House in Washington, DC, with Rose and O'Hara reprising their leads, and Clive Revill and Jean Stapleton in major roles.[4] The show, now licensed by Tams-Witmark, has since has major productions at the Shaw Festival in Toronto, Canada; and numerous regional and amateur theatrical productions worldwide. [14]
Awards and honors
The Broadway production was nominated for nine 1986 Tony Awards and won five: Best Musical (presented to Papp), Best Book of a Musical and Best Original Score (both presented to Holmes), Best Direction of a Musical (presented to Leach), and Best Actor in a Musical (presented to George Rose, who played "The Chairman"). It also won nine Drama Desk Awards (including "Outstanding Musical") and an Edgar Award for Best Play.
Recordings
In 1985, recording of ''The Mystery of Edwin Drood'' with the additional subtitle, ''The Solve-It-Yourself Broadway Musical'', was released, featuring the entire original Broadway cast. Though it omits several of the reprises that feature in the musical, it includes two versions of "The Murderer's Confession,"- one sung by Rosa Budd and the other sung by Princess Puffer. [15]Further cast recordings have not been made. However, two songs that were omitted from ''Drood'' before it reached Broadway, "An English Music Hall" and "Evensong," were later recorded for the 1994 album, ''Lost In Boston''.[16]
Footnotes
1. ''Some Early Dramatic Solutions to Dickens's Unfinished Mystery''
2. ''The Cinematic Adaptations of'' The Mystery of Edwin Drood:'' 1909, 1914, 1935, and 1993; or, Dickens Gone Hollywood''
3. ''The History of'' The Mystery
4.
5.
6. Adolf Philipp's IBDB entry
7.
8.
9. ''The History of'' The Mystery
10. Drood (The Mystery of Edwin Drood)
11.
12. The Mystery of Edwin Drood
13.
14. ''The Mystery of Edwin Drood'' Holmes, Rupert
15. "The Mystery of Edwin Drood: The Solve-It-Yourself Broadway Musical (1985 Original Broadway Cast"
16. "Lost in Boston: Songs You Never Heard From"
Additional references
The Mystery of Edwin Drood
External links
★ Internet Broadway Database listing
★ Official site on Rupert Holmes.com
★ Licensing agency information on Drood
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