‘Copperfield! The New Musical’ review: A rollicking, big-hearted Dickens adaptation that is not to be missed

Originally published as a serial, starting in 1849, Charles Dickens’ The Personal History, Adventures, Experience and Observation of David Copperfield the Younger of Blunderstone Rookery is a tale rife with tragedy. But recent adaptations like Armando Iannucci’s 2019 movie The Personal History of David Copperfield and Jeffrey Scharf’s Copperfield! The New Musical focus on the hope and happiness found in a life story rocked repeatedly by woe.

However, for those taking notes on such things, Copperfield! does hew more closely to the events of Dickens’ story, embracing some of its darkest moments without reserve. And yet, this new musical, now playing Off-Broadway, is a rapturous delight — perhaps in part because it doesn’t shy away from its hero’s hardships.

Copperfield! A New Musical is a classic story told with a raucous and sensationally talented ensemble.

With book, music, and lyrics by Scharf, Copperfield! is set across England, from 1835 to 1870. Directed and choreographed by Gabriel Barre (with associate director and choreographer Ashley Wren Collins), this musical kicks off with a grown David Copperfield (Bobby Conte) reflecting on his life. A dashing man, he ushers audiences back to the day of his birth, introducing his widowed mother Clara (Cathryn Wake) in fervent labor, while her devoted maid Peggotty (Amelia Cormack) assists, and his eccentric aunt Betsey Trotwood (Kara Mikula) flutters about making bizarre predictions and demands.

With an energetic song called “Betsey Trotwood Copperfield/It’s a Boy,” Mikula kicks the story off with rousing energy and plenty of spunk. Then comes Young David (Calvin Knegten at the performance I saw), who shoulders much of the first act, with his older counterpart stepping in on occasion to make observations or lend reflective moral support. Young David will be bounced on his mother’s knee, then he’s off to a seaside village to visit with Peggotty’s charming family, before being sent to a cruel boarding school at the behest of his vicious stepfather, Mr. Murdstone (Will Reynolds).

From there, the poor boy will be orphaned then forced into hard labor, before seeking salvation from the aforementioned aunt. Even as he finds relief from one vexation, other troubles arise. But so, too, do meaningful relationships with debonair classmate Steerforth (Owen Squire Smith), scrappy debtor Mr. Micawber (Andy Taylor), a befuddled but brilliant family friend Mr. Dick (Aaron Michael Ray), and his benevolent bestie Agnes Wickfield (Tatiana Wechsler).

Now, as the story roams from the Copperfield estate to Yarmouth, London, and beyond across decades, Copperfield! keeps its cast almost alarmingly small. Around Conte’s strong central performance, 13 adult actors not only play several characters each, but also pick up instruments to join in the orchestration. In this way, they turn a tiny stage — enhanced by flanking platforms and a modest but efficient set design — into a wide world that is cruel, kind, and often wondrous.

Bobby Conte leads a marvelous ensemble cast in Copperfield!

Bobby Conte and Cathryn Wake in “Copperfield! The New Musical.”
Credit: Jeremy Daniel

As an admirer of Iannucci’s adaptation of David Copperfield, I thought of it often while witnessing Copperfield! In that, I found a curious distinction. Iannucci focused on David’s pursuit of identity, drawing attention to how he was forced to code-switch and even change his name depending on his company. Scharf’s approach is less cerebral, focusing instead on the search for home.

The plays opening number “I Am Home” is reprised throughout the show, as David reflects on when he felt safe and thought his happy ending was assured. Of course, whether you know Dickens’ work or just that this musical is unlikely to end in the first act, this reprise toys with our hearts, because we know there’s more to come. While the company brings out guitars, trumpets, pianos, drums, and more instrumentation, Scharf’s songs range from dastardly (“Mr. Murdstone Is the Master Now”) to playful (“I Shake Your Hand Sir”) to mournful (“Always the Pleasure Was Mine”) to rollicking (“I Am a Rover”). In this, Scharf creates a thrilling odyssey in a simple setting, using his music and relying on this sensational cast to build David’s world with their unbridled vigor.

Tatiana Wechsler, Aaron Michael Ray, Bobby Conte, and Kara Mikula in “Copperfield! The New Musical.”
Credit: Jeremy Daniel

While the whole of the cast sings their hearts out, there are a few standouts. Cormack, who plays Peggotty and Mrs. Micawber, among others, bursts with warmth and comedic bounciness, so her every entrance is a blessing. Mikula, as Aunt Betsey, is a deranged delight, singing with the trilling enthusiasm and the force of a windstorm, to the point where I yearned to see her tackle Sweeney Todd as Mrs. Lovett. Alexander Sovronsky awed me with the sheer breadth of his characters, playing the effusively warm Mr. Peggotty, the malevolent Mr. Creakle, the dignified then drunken Mr. Quinion, and a smattering of bit parts aside. With the toss of his lush silver hair and a switch up of his mouth, Sovronsky needs no costume change to change character. And in group numbers, he is so clearly enthralled, whether singing, dancing, or playing an instrument, that he’s hard to look away from.

Conte is strong in the lead role, delivering nuance and heartache whether mourning over his mother or falling in love, not once but twice. Wechsler is lovely in the role of besotted Agnes, while Wake is hilarious and surprising as David’s first love, Dora. Playing his mother, Wake is serene and oft on the verge of tears, bursting with motherly adoration of him. As his sweet, giddy bride, she is unhinged in the best way. Watching her throw herself into the Olympian vocal back-and-forth of their courtship (“Do-o-or-a, Part One and Part Two”), I was reminded of Jane Krakowski and her recent Broadway stint in Oh, Mary! In this latter role Wake is explosively hilarious, deepening my appreciation for the sincerity in her first-act performance of Clara.

With so much going on, Copperfield! is a whole lot of show. And admittedly, that means the third act drags as the eponymous hero catches up to the romantic realization even newcomers to the story will clock in Act II. Still, bursting with energy, passion, and jaw-dropping talent, Copperfield! The New Musical is a wonder not to be missed.

Copperfield! The New Musical is now playing through Dec. 6 in New York.