Charles Morey has specialized in turning 19th-century novels into plays, notably the works of Alexandre Dumas, père and fils. His 1998 stage version of "The Count of Monte Cristo," Dumas père's classic tale of revenge, makes for a wonderful swashbuckler that works as escapism while examining flaws in human nature that allow some men to prey upon others.
Here, Edmond Dantès (Michael Keeney) is wrongly imprisoned on the eve of his marriage to his wealthy and beautiful fiancée. Spending years in a dank dungeon, Dantès learns that two of his former friends and one of the king's prosecutors used him to further their careers and are now immensely wealthy and powerful. He vows to escape and exact revenge upon this trio, getting his chance when a kindly fellow prisoner shows him an escape route and tells him where to find buried treasure. In his new identity as the mysterious, fabulously wealthy Count of Monte Cristo, Dantès carefully carries out his plans to ruin the cowardly Villefort (Scott Keister), greedy Danglars (David Chorley), and lustful Mondego (John Brennan).
Director Nathan Makaryk handles Morey's adaptation as if it were an epic adventure film, creating his own scenic design, lighting, fight choreography, and musical underscoring. His approach is mirrored by Heidi Newell's gorgeous, elaborate period costumes, as well as Makaryk, Chorley, and Brian Newell's sound design. The result is an enjoyable, action-packed adventure.
Keeney's wronged hero is animated by an icy-cold fury that informs his every word and action. Keister, Chorley, and Brennan create a stylized villainy suited to their characters' specific traits: Villefort's guarded caution, Danglars' avarice, and Mondego's self-satisfied arrogance. Makaryk surrounds this quartet with a Dickensian gallery: Glenn Freeze's kind, wily Abbé Faria; Karen Harris' scheming Madame de Villefort; Andrea Dennison-Laufer's snobbish Madame Danglars; Veronica Rosas' passionate Haydée; Dolores Kimble's heartbroken Mercédès; and Ryan Murphy's Benedetto, who revels in behaving like a jackass. The overall acting style is broad and feverish, as befits melodrama, pulp fiction, comic books, and wish-fulfillment tales such as this.
Presented by and at Maverick Theater, 110 E. Walnut Ave., Fullerton. April 15–May 22. Fri.–Sat., 8 p.m.; Sun., 4 p.m. (714) 526-7070 or www.mavericktheater.com.