Nathaniel Hawthorne's "The Scarlet Letter" has, indeed, been the inspiration for numerous musical treatments almost from the time of its original publication in 1850. It has also been the subject of a number of dramatic plays and motion pictures. Very few of these efforts, however, have achieved any degree of lasting notoriety, with the possible exception of the recent Demi Moore debacle that will probably be on many '10 Worst Films' lists for years to come.
The task of adapting this challenging
and complex novel has never been an easy one. Some authors have
chosen to "improve" on Hawthorne by adding comic relief
or a happy ending. Others have used his dark ambiguity as a vehicle
to promote their own social or political agendas. The new musical
by Scott Freiheit takes a very unique approach...it stays true
to the novel! As a result, this version of "The Scarlet
Letter" is a very different kind of musical play.
While not an opera in the sense of being completely sung, the score embodies many of the thematic elements associated with "through-composed" pieces. There are very few "songs" in the traditional sense. Dialogue and singing are blended throughout the score in a way that challenges the conventional definition of a book musical.
There are no "humorized" characters, ala 'Thenardier' in "Les Miserables"and no attempt has been made to "lighten up" the story. This is a musical about sin and redemption. About cruelty and love. About strength and weakness and most importantly of all about passion.