There is a lot to praise about the Citadel Theatre’s production of The Three Musketeers. Based upon Alexandre Dumas’ classic—and very long—novel, published in 1844, the story has been reframed as a comedy, adapted from the novel by Catherine Bush, and directed by Daryl Cloran.
It is a fun, fast, smoothly-choreographed show that manages to impart a strong sense of flourish and elaboration that was typical of 17th century France, despite a minimal, rotating set. The costumes and multiple costume changes do much to help with the sense of richness and authenticity, and also explains why there are two costume dressers listed for the crew, and two wig runners.
The cast, without exception, deliver experienced and, at times, nuanced and delightful performances. Special mention goes to Edmontonian John Ullyat as Rochefort, Alexander Ariate as Porthos, and Alexandra Lainfiesta in both roles, as Queen Anne and as a perfectly delicious Kitty. Plus, in two scene-stealing roles, Farren Timoteo as King Louis, and Planchet.
We were fortunate that among the audience with us were several children; their audible reactions to what might have been a stale plot with well-known turns and unsurprising twists were a measure of how well the story has been adapted.
That is where the surprise comes in. There are so many adaptations of the Dumas novel, that one might approach this version with a degree of ennui. We’ve all seen so many versions before that we might suspect that nothing could surprise us.
But Catherine Bush, the playwright, and Daryl Cloran, the director, have managed to inject freshness and unexpected dabs of delight, even while remaining true to the novel’s (and not the many film and TV adaptations) storyline.
Said Bush about the work of adapting such an old warhorse of a story:
I hated the characters as written in the book. I’m referring to the Three Musketeers and D’Artagnan. Dumas did not write them for the women of the #MeToo generation. They treated women horribly; used them when convenient then threw them away like trash. My partner had to listen to a lot of “oh my God, I HATE these guys!” exclamations while I was reading the book. I’m a romantic who loves a noble hero – when D’Artagnan tells Constance he loves her, I wanted him to mean it and stay true to her. I wanted the Three Musketeers to be the kind of men I wouldn’t mind hanging out with – flawed, but with a sense of honor, a working knowledge of right and wrong. I wanted romance and adventure, heroes and villains – and all that informed the writing.”
Bush has inserted modern sensibilities into a story written by a man of the nineteenth century, who imparted to the story the mores and social practices of his time, without warping the essential core of the story.
The production enhances this effect by casting women as military leaders. Nadien Chu in a satisfying solid performance as Mme de Treville, the executive officer of the Musketeers, made it seem perfectly reasonable that a woman might control an elite military unit in the seventeenth century. And Morgan Yamada, playing Jussac, Richelieu’s head guardsman, was equally as convincing, along with her female cohort.
You may have seen The Three Musketeers in more than one other adaptation, but you have not seen this version. Don’t miss it.
The Three Musketeers runs until May 12th. See the Citadel listings for more details.
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All photos by Nanc Price for The Citadel Theatre, featuring the cast of The Three Musketeers (2024), a co-production with Arts Club Theatre Company. For full credits visit CitadelTheatre.com.
