Le Comte de Monte-Cristo opens in Montreal with fierce theatrical pace and production scale

Serge Denoncourt's production of Le Comte de Monte-Cristo premiered Tuesday night in Montreal, a three-hour theatrical adaptation of Alexandre Dumas's classic novel that sustains the relentless pacing of the original feuilleton.

Denoncourt dedicated the production to the memory of Marc Messier, a legendary Quebec actor. The adaptation reunites the director with actor Mikhaïl Ahooja, who plays Edmond Dantès. The two have collaborated on numerous productions since Ahooja's 2010 graduation from the Conservatoire, including Il Campiello, Prénom, Roméo et Juliette, and La mort d'un commis voyageur.

The production succeeds in capturing the novel's breathless momentum across three hours of dense theatrical action — a considerable feat when adapting a sprawling narrative with numerous intrigues and reversals. Denoncourt coordinated 17 actors through their scenes with striking fluidity, remaining closely faithful to Dumas's original plot: the conspiracy of Danglars and Fernand, Dantès's false arrest as a Bonaparte agent, his imprisonment and despair at the Château d'If, his meeting with the Abbé Faria, his dramatic escape, and his elaborate revenge scheme.

The production's visual sophistication enhances the storytelling. Scénographe Guillaume Lord designed the sets while lighting designer Martin Labrecque created atmospheric depth — particularly through large 3D-projected frescos that enhance key scenes. A backstage rail system allows physical set pieces to appear and disappear fluidly, replacing traditional turntables.

Ahooja delivers a convincing performance in the demanding dual role, particularly in Dantès's early scenes — the young, lovestruck sailor consumed by injustice and despair. His colder, more distant portrayal of the Count carries the weight of transformation, though his performance falters in the final scenes. A crucial moment late in the play — when the Count realizes his vengeance has overstepped the bounds of justice — feels uneven. In a scene that demands emotional subtlety and restraint, Ahooja's Count sometimes shifts into intensity when the narrative requires a quieter reckoning.