By Kari Welch
Nevermore, written and composed by Jonathan Christenson, offers an imagining of Edgar Allan Poe’s inner life, where the tragedy of his loss and misfortunes swirl around him and become the undertow that pulls him down into his macabre legacy of storytelling and ultimately leads to his untimely death at the age of forty.
It is less a biography and more a gothic fairy tale, expanding upon what the author imagines is Poe’s grief and romantic despair. The actual timeline of Poe’s sad life exists in this sing-song storytelling, but the focus is on how his love and loss shaped the darkness of his mind. It creates a figure who is somehow never responsible for his own life choices, but rather a victim of his tragic circumstances.
Yet for a piece so steeped in death and darkness, Nevermore never feels oppressive. There exists the allure and fascination of the macabre, much like Poe’s literary work itself. The kind that draws young goths to graveyards and the color black. A passing phase one might have in exploring that balance of life and death. The production feels like a dance with death rather than a dirge—a rolling spiral into shadows that’s more entrancing than mournful.
Clearly, this is a passion project for director and lead actor Kory Weimer, who in his director’s note describes Nevermore as “a fractured mirror,” built from “shadows, lullabies, and laments”— a fitting description of both the script and his interpretation of it. His connection to the material feels personal, almost like a creative exorcism.
Weimer’s vision serves up a minimalist, stark set where light and shadow create the play space. Black and white costumes by Chris Carter are a mashup of Beetlejuice and steampunk, both unexpected and fun, leaning into a cabaret vibe. David Mort’s raven puppet offers a cool fantasy flair and is a highlight of the production.
Musically, Nevermore leans into operetta, where rhythmic prose segues into full musical numbers. The score veers from carnival to rock, serving as a backdrop to storytelling.
A committed ensemble of players brings the characters of Poe’s life to life through movement, clowning, and stagecraft. Dylan Bunten impresses with clear characterization of Poe’s foster father. Moura Stewart brings a delightful quirkiness, particularly to the character of Elmira, one of Poe’s amours. Standout Cam Tunnell delivers charm and vocal clarity to the many roles she plays. Weimer as Poe delivers a vulnerable and heartfelt performance.
The primary issue with the production lies in the sound balance between the pre-recorded tracks and the vocalists. At times, the recorded music overpowers the singers, making it difficult to catch the lyrics that carry so much of the narrative. Diction also was inconsistent among cast members. The combination of the issues would have been overcome by the use of supertitles, which, while may be unheard of in musical theatre, might have been a great punctuation to a tale about a storyteller.
In the end, Nevermore isn’t really about Edgar Allan Poe. It is about how myth and memory can blur the lines between real life and legacy. And for Cottage Theatre, it is a big and much appreciated swing at repertoire that is
Nevermore, written and composed by Jonathan Christenson, offers an imagining of Edgar Allan Poe’s inner life where the tragedy of his loss and misfortunes swirl around him and become the undertow that pulls him down into his macabre legacy of storytelling and ultimately leads to his untimely death at the age of forty. It is less of a biography and more of a gothic fairy tale, expanding upon what the author imagines is Poe’s grief and romantic despair. The actual timeline of Poe’s sad life exists in this sing-song storytelling, but the focus is on how his love and loss shaped the darkness of his mind. It creates a figure who is somehow never responsible for his own life choices, but rather a victim of his tragic circumstances.
Yet for a piece so steeped in death and darkness, Nevermore never feels oppressive. There exists the allure and fascination of the macabre, much like Poe’s literary work itself. The kind that draws young goths to graveyards and the color black. A passing phase one might have in exploring that balance of life and death. The production feels like a dance with death rather than a dirge—a rolling spiral into shadows that’s more entrancing than mournful.
Clearly, this is a passion project for director and lead actor Kory Weimer, who in his director’s note describes Nevermore as “a fractured mirror,” built from “shadows, lullabies, and laments”—a fitting description of both the script and his interpretation of it. His connection to the material feels personal, almost like a creative exorcism.
Wiemer’s vision serves up a minimalist, stark set where light and shadow create the play space.. Black and white costumes by Chris Carter are a mashup of Beetlejuice and steampunk, both unexpected and fun, leaning into a cabaret vibe. David Mort’s raven puppet brings cool fantasy flair and is a highlight of the production.
Musically, Nevermore leans into operetta, where rhythmic prose segues into full musical numbers. The score veers from carnival to rock, serving as a backdrop to storytelling.
A committed ensemble of players brings the characters of Poe’s life to life through movement, clowning, and stagecraft. Dylan Bunten impresses with clear characterization of Poe’s foster father. Moura Stewart brings a delightful quirkiness, particularly to the character of Elmira, one of Poe’s amours. Stand out Cam Tunnell delivers charm and vocal clarity to the many roles she plays. Weimer as Poe delivers a vulnerable and heartfelt performance.
The primary issue with the production lies in the sound balance between the pre-recorded tracks and the vocalists. At times, the recorded music overpowers the singers, making it difficult to catch the lyrics that carry so much of the narrative. Diction was also inconsistent among cast members. The combination of the issues would have been overcome by the use of supertitles, which, while may be unheard of in musical theatre, might have been a great punctuation to a tale about a storyteller.
In the end, Nevermore isn’t really about Edgar Allan Poe. It is about how myth and memory can blur the lines between real life and legacy. And for Cottage Theatre, it is a big and much appreciated swing at repertoire that is bold, innovative, and a step outside of the box.
Editor’s Note: Nevermore continues at Cottage Theatre through June 22, 2025; information at cottagetheatre.org
