Dickens died before he could finish the story, but according to his friend, John Forster, Dickens had written him concerning the text. She goes to Jasper's service the next morning and hides behind a pillar, shaking her fist at Jasper. Datchery, another border at Cloisterham, who provides her with Jasper's name and occupation. Puffer follows him to Cloisterham and runs into Mr. Jasper revisits the opium den and is followed out by a woman called Princess Puffer. Billickin so that Rosa doesn't have to return to Nun's House where Jasper can find her. Rosa and Miss Twinkelton rent a place from Mrs. The same day, Jasper buys a black, silk scarf. Jasper is the only person that uses the nickname "Ned" for Edwin, so Edwin is confident she's not referring to him. He tells her "Edwin," and she replies that "Ned" is in danger. There, he meets an opium addict who asks him his name. On Christmas Eve, he takes the pocket watch to a jeweler for repairs. Edwin wears a pocket watch, chain and shirt pin. Jasper accuses Deputy of spying and grabs him by the throat and chokes him, but releases him unharmed. On their way out of the crypt, they run into a boy called Deputy. The only thing he remembers is watching Jasper enter the crypt alone. On the way down, Durdle drinks some wine that Jasper offers him and quickly passes out. Jasper gets Durdles, a man knowledgeable about the cathedral crypt, to give him a tour. Grewgious is chosen to inform Jasper of the change. Edwin and Rosa agree to end the engagement the next day. Grewgious offers Rosa's mother's ring to Edwin with the understanding that he will give it back should he decide not to marry Rosa. Grewgious informs Rosa that she has inherited a substantial amount from her parents and that the fortune doesn't have any prerequisite that she marry Edwin. That its Victorian-style musical hall sensibility only adds to its feeling of fun, is reason too, why this production should not be missed.Mr. The hilarious whodunit mystery musical’s interactivity, allowing the audience to enter the action as the ultimate detectives, makes for not only a unique but a uniquely shared experience, fostering many interval conversations as to different theories and suspect preferences. “The Mystery of Edwin Drood” is certainly musical theatre done differently. Lush colours and opulent fabrics enliven characterisation and assist in transporting the audience into the story, while providing their own visual interest. The most memorable aspect of the show’s aesthetics, however, comes courtesy of Justin Tubb-Hearne’s lavish costume pieces. And Liam Gilliland’s lighting design works well to darkens us to the depths of Jasper’s obsessive passion. In particular, ‘Moonfall’ in which she sings the innuendo-heavy love song Jasper has written for her, showcases not only this, but Musical Director Benjamin Tubb-Herne’s noteworthy keyboard contribution.Īlso in the Act Two number ‘Settling Up the Score’, the setting of Cloisterham train station is easily evoked thanks to clever choreography that sees cases seamlessly transform from a train to a moving tableaux of daily busyness. And Marsh brings some lovely operatic-type tones to her numbers. Wilson’s vocals are commanding, which is evident early in Act One from her ‘Two Kinsmen’ duet with Drood’s uncle Jasper. While the score lacks any particularly memorable numbers, it does allow for the cast to shine. And McArthur is wonderful as the bumbling clergyman, finding the funny in detail down to even an eyebrow raise. Carolyn Latter is an audience favourite as Angela Prysock playing the glamourous ruined Princess Puffer, from her bawdy ‘Wages of Sin’ musical introduction and explanation of her life as Madame of the sinister opium den frequented by Jasper, however, it is William Chen’s enthusiasm as the devoted understudy Philip Bax playing the reverend’s clerk Bazzard, that endears his character most into our affections, especially when he finally gets his moment in ‘Never The Luck’. Shannon Foley is an energetic master of ceremonies, who recovers easily on the occasions his punny double entendre-type audience banter deliberately falls flat. All performers are strong in their multi-faceted roles.
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