A Spectacular New Musical, ‘MADAME DeFARGE’ Ignites Gloucester Stage

By Sheila Barth

BOX INFO: Two-act, two-hour new musical, book, music and lyrics by Wendy Kesselman, inspired by Charles Dickens’ “A Tale of Two Cities,” making its world premiere, with a Boston all-star cast, appearing at Gloucester Stage Company, now through June 2: Wednesday-Saturday, 7:30 p.m.; Saturday,Sunday, 2 p.m. 267 E. Main St., Gloucester. $35-$45, senior, 18-under years old, and other discounts. 978-281-4433, gloucesterstage.com.

For two hours, theatergoers sat hushed, in reverential silence. A woman in the audience wept, her tears heart-rending, in the final scenes of Gloucester Stage Company’s spectacular production of Wendy Kesselman’s new musical, “Madame DeFarge”. The deeply moving play is inspired by Charles Dickens’ “A Tale of Two Cities”.

It was the best of times. It was the best of everything theatrical I’ve seen this year.  Helmed by Director Ellie Heyman, the world premiere of Kesselman’s musical features some of Boston and Broadway’s best, award-winning actors, namely the beautiful Jennifer Ellis, whose soprano voice soars, while her stirring performance illuminates the title role. Co-star Benjamin Evett portrays her husband, Ernest DeFarge, with strong conviction and loving passion. His battle cry for Liberte’ sends chills up people’s spines.

At Sunday afternoon’s post-show reception, Evett told me the play is inspiring. And co-starring opposite Ellis is pure joy. “She’s so easy to love,” he said, smiling. His feelings emanate throughout his marvelous performance.

Nicely portraying ill-fated, self-sacrificing Sydney Carton, Jason Michael Evans is a heart-stealer, especially in a near-final scene, when he helps a little girl prepare for death by guillotine, followed by his own demise and famous declaration: “This is a far, far better thing I do than I have ever done.”

Carton sacrifices his life for aristocratic look-alike Charles Darnay (terrific Matthew Amira), the noble, doomed “immigrant” and object of Mme. Therese DeFarge’s vengeful scourge. Just as Darnay’s father and uncle raped and murdered members of her family, Madame DeFarge magnificently pours out that sordid tale in song, “Quieting the Frogs,” revealing her reason for wanting to wipe out the evil brothers’ descendants completely. That includes Darnay’s golden-haired wife, Lucie Manette (Sabrina Koss), daughter of Revolution hero, Dr. Alexandre Manette, who was incarcerated without cause and suffered greatly for 18 years in the Bastille.

Madame DeFarge also condemns the Darnays’ 10-year-old daughter, little Lucie, whom 11-year-old award-winning Marissa Simeqi portrays with amazing talent, well beyond her years. Tick, Tock,” Marissa’s solo as an urchin girl, is gut-wrenching. So is her duet with Koss in song, “While the Candles Burn”.

Rob Karma Robinson evokes unparalleled sympathy and ambivalence portraying Dr. Manette. He’s conflicted between his past and his desperate attempt to save his son-in-law’s life, but unwittingly seals Darnay’s doom with a letter Manette wrote during his tormented incarceration.

Rounding out this marvelous cast are Broadway veteran, Rockport’s Wendy Waring, as Miss Pross, older Lucie’s longtime British governess and protectress; Broadway star John Hillner, portraying despised, despicable evil Monsieur le Marquis de Evremonde, and also accuser Barsad, Pross’ brother. John Shuman easily shifts roles as lawyer Mr. Lorry and other cameos.

With theatergoers seated near the bi-level floor bordering the stage on three sides, the actors at times approach, sit with and interact with individuals They also make riveting eye contact .

Music director-pianist Mindy Cimini, clarinetist Stephen Bates and cellist Anna Seda perform from the center of the uncluttered stage, while designer James Fluhr’s striking set boasts strong Bastille cell bars and few props. Mary Ellen Stebbins’ subtle, well-placed lighting and Zachary Cadman’s battery of explosive sounds startle.
Do yourself a favor. Don’t miss “Madame DeFarge”. This dramatic musical is so powerful and hard-hitting, it will remain with you long after you’ve left the theater.