1859: Charles Dickens’ historical masterpiece, A Tale of Two Cities, is published. Destined to sell 200 million copies, the novel enjoyed “the best of times.”

 

2025: Dickens’ classic is “recalled to life” as a traditional musical titled The Tale. The novel’s components of revenge, revolution, redemption, love, and sacrifice are as relevant today as they were in 1859. Our vision: to honor the themes, characters, plot, symbols, contrasts, et al. so as to resonate with a modern audience.

 

A major aspect of our vision was to structure a fast-paced narrative. To that end, we compressed the novel’s time period, eliminated nonessential characters, avoided plot digressions, created sexual tension between Lucie Manette and Sydney Carton, and highlighted contrasts between characters and cities. Of paramount importance, Phillip Keveren’s score reflects the artistic vision. From songs to transitional pieces, the music develops and supports themes, characters, recurring symbols, and motifs.

 

Sample contrasts:

Lucie Manette’s love for Carton contrasts with his self-destructive lifestyle. Ultimately, however, her love inspires him to sacrifice his life for her happiness. In death, he is reborn; by contrast, Mme. Defarge’s hatred results only in destruction. Charles Darnay is a noble contrast to his father, the aristocratic and evil Marquis, as well as to the raucous Sydney Carton. Through their conversations and songs, the characters reveal their striking differences.

 

The two cities are also a study of contrasts. Although by no means idyllic, London offers a modicum of order in contrast to Paris, a city on the verge of a bloody revolution. In multiple scenes, the guillotine’s shadow looms large to illustrate “the worst of times.” A fast-paced book, spirited dialogue, masterful songs, lighting, and special effects combine to produce a musical that ranges from poignant to powerful to eternal.

 

2025: The Tale is “recalled to life.”