Original Broadway poster
|Basis||Charles Dickens' novel
The Mystery of Edwin Drood
1987 West End
1988 US Tour
2007 West End revival
2012 West End revival
2012 Broadway revival
|Awards||Tony Award for Best Musical
Tony Award for Best Book
Tony Award for Best Score
Drood (or The Mystery of Edwin Drood) is a musical based on the unfinished Charles Dickens novel The Mystery of Edwin Drood. It is written by Rupert Holmes, and was the first Broadway musical with multiple endings (determined by audience vote). Holmes received Tony Awards for Best Book and Best Original Score. The musical won five Tony Awards out of eleven nominations, including Best Musical & Best Leading Actor.
The musical debuted as part of the New York Shakespeare Festival in August 1985, and, following revision, transferred to Broadway, where it ran until May 1987. Two national tours and a production in London's West End followed. The Roundabout Theatre Company revived the musical as The Mystery of Edwin Drood in 2012.
The musical Drood is derived from two major inspirations: Charles Dickens' final (and unfinished) novel, The Mystery of Edwin Drood, and the British pantomime and music hall traditions that reached the height of their popularity in the years following Dickens' death.
Dickens' Mystery began publication in 1870. The book, which had been written and published in episodic installments (as had most of Dickens' other novels) was left unfinished upon Dickens' sudden death from a stroke that year. The lack of resolution to the mystery (and the absence of notes that would indicate Dickens' intentions) have made The Mystery of Edwin Drood a literary curiosity. Almost immediately after the publication of Dickens' last episode, various authors and playwrights (including Dickens' own son) attempted to resolve the story with their own endings: by the time of the Drood musical's production, there had been several "collaborations" between the late Dickens and other novelists, numerous theatrical extrapolations of the material, and three film adaptations of the story.
Contemporaneous with Dickens' writing, British pantomime styles — distinguished by the importance of audience participation and conventions like the principal boy — reached their height of popularity, just as music hall performance with its attributes of raucous, risque comedy and a distinctive style of music began to achieve prominence.
Rupert Holmes, who would go on to be the major creative contributor to the musical Drood, spent his early childhood in England. At age three, he would experience theater for the first time when he was taken to a modern "panto", complete with cross-dressing lead boy and audience sing-alongs. Some years later, as an 11-year-old boy fascinated by mystery books, Holmes first discovered the unfinished Dickens novel. Both of those seminal experiences would go on to have a major impact on Holmes when he was first approached to write a new musical by impresario Joseph Papp.
Holmes, a well-known popular songwriter whose songs had been performed by the likes of Barbra Streisand, and who had himself recorded the #1 hit "Escape (The Piña Colada Song)" in 1979, first became interested in writing a musical in 1983. Following a nightclub appearance during which Holmes performed some of his "story-songs" while sharing humorous anecdotes, Holmes received a note from Gail Merrifield, director of play development at the New York Shakespeare Festival (and wife of Joseph Papp, the creator and head of the Festival), who had seen Holmes' performance and suggested that he write a full-length musical.
Drawing on his recollections of pantomime and Dickens' novel, as well as later experiences with Victorian-style music hall performance, Holmes conceived the central premises of the show. From the Dickens work, Holmes took the central plot and most of the featured characters. From music hall traditions, he created the lead character of "The Chairman", a sort of Master of Ceremonies and instigator of the action on stage. And from pantomime he retained the concept of the "Lead Boy" (always portrayed by a young female in male drag) and the most ground-breaking aspect of Drood, audience participation.
Drood is unusual in part because of Holmes' feat of writing the book, music, lyrics, and full orchestrations for the show. Though Holmes believed no Broadway creator had done this before, and despite frequent mentions of this feat in articles and reviews of the show, the practice was not entirely uncommon in the early days of musical theater. Songwriters, including Adolf Philipp, were previously credited with the books to their musicals. However, none of these composer/librettists had written their own orchestrations as well.
In writing the book, Holmes did not let Dickens overshadow his own intentions. Rather than imitate Dickens' writing style, which he felt would be too bleak for the kind of show he wished to write, Holmes employed the device of a "show-within-a-show." The cast members of Drood do not specifically play Dickens' characters, but rather music hall performers who are performing as Dickens' characters. This device allowed for a great deal of light comedy that was not originally found in Dickens' novel to be incorporated into the show, as well as several musical numbers that were unrelated to the original story. In explaining this decision, Holmes was quoted as saying, "This is not Nicholas Nickleby set to music--it's not a Dickensian work. It's light and fun and entertaining. But I hope--I think--that Dickens would have enjoyed it."  Holmes has also pointed out that "It has the same relationship to Dickens that Kiss Me Kate does to The Taming of the Shrew."  The pantomime concept also allowed Holmes to employ a female in the lead male role, which further allowed him to write a love song designed to be sung by two sopranos.
Most inventively, Holmes employed a novel method of determining the outcome of the play: having the audience vote for an ending. At a break in the show, the audience votes on who killed Drood (if, indeed, he was killed at all), the identity of the mysterious Dick Datchery, and on which two characters will become romantically involved in the end, creating a happy ending. Since every audience differs in temperament, the outcome is theoretically unpredictable even to the actors, who must quickly tally the votes and commence with the chosen ending (although some smaller companies will "fix" the results to limit the number of possible endings). This device required extra work from Holmes, who had to write numerous short endings which covered every possible voting outcome.
There are several differences between the musical and the novel. The tone of Dickens' original book was somewhat bleak (as was Dickens' style), whereas the show is considerably more lighthearted and played for comedy. The most notable difference in characterization involves Jasper: though Dickens' character is undoubtedly repressed and troubled, he is not depicted with the full-fledged split personality that he appears to have in the musical. Several minor characters are omitted, and the roles of others are expanded. In the musical, Bazzard is Crisparkle's assistant, whereas in the novel he is employed by Rosa's guardian, Mr. Grewgious. Meanwhile, in order to increase the interactivity of the play and introduce doubt as to whom the murderer is, the musical omits several of the novel's clues that Jasper is the killer and introduces clues which do not appear in the novel pointing at other suspects.
Act One opens as the members of the Music Hall Royale circulate among the audience, introducing themselves to the patrons, the Chairman of the proceedings bursts forth with the show’s opening number There You Are. They then introduce John Jasper, the “Jekyll and Hyde” choirmaster who greets his young nephew Edwin Drood. Drood is engaged to the fair Miss Rosa Bud, who is Jasper’s music pupil and the object of his mad obsession-Moonfall. The kindly Reverend Crisparkle and two exotic emigrants from Ceylon, Helena and Neville Landless, arrive. Neville is immediately attracted to Rosa, which makes him a rival to both Edwin and the secretive Jasper.
Next we travel to London and the sinister opium den of the Princess Puffer who clowns with the audience, and explains her life in the hilarious and entertaining Wages of Sin. A sinewy ballet dance follows. We discover that one of Puffer’s regular clients is none other than Jasper himself, who cries out the name “Rosa Bud” during a hallucination. Puffer shows great interest in this fact, and stores it away in her memory. Back in Cloisterham, Neville and Drood meet and come to odds with each other almost immediately. Mayor Sapsea sings of this in the patter song Both Sides of the Coin. We are then introduced to the drunken stonemason Durdles, and his assistant Deputy. In the graveyard, they tell us that Edwin and Rosa have called off their engagement-Perfect Strangers.
It is Christmas Eve and Jasper has arranged a ‘reconciliation’ dinner for the Landless twins, Crisparkle, Rosa and Drood-No Good Can Come from Bad. Jasper serves a particularly potent wine to his guests. Soon, the party disbands and the guests depart into a violent storm. The next day Drood has vanished. Crisparkle’s assistant discovers Edwin’s torn coat by the river. Drood was last seen walking there with Neville the night before. The cast summarizes the situation and launches into the rousing Off to the Races.
Act Two begins six months later, and still there is no sign of Drood. There is much speculation as to his fate. Two sleuths arrive from out of town. One is Princess Puffer, and the other is a detective-in-disguise named Dick Datchery-A Private Investigation. One by one the characters reenter and build to the rousing kick-line number Don’t Quit While You’re Ahead. The company seems about to reveal the solution to the mystery when…the number and the play stop abruptly. The Chairman reveals that here is where Charles Dickens laid down his pen forever! The play is now thrown open to the audience while the Chairman and Company review the various suspects’ motives and plot possibilities. In a series of unique voting events, amid much cheering (and booing and hissing of the villains), the audience determines the conclusion of the show.
Puffer finds Rosa and reveals that, years before, she had been Rosa's nanny ("The Garden Path To Hell"). She continues with "Puffer's Revelation" and reveals the identity of Datchery (previously chosen by the audience.) The evening's Datchery (either Bazzard, Reverend Crisparkle, Helena, Neville, or Rosa) explains why he or she wants to find the killer ("Out On A Limerick") and promptly accuses Jasper of being the murderer. Jasper soon admits that he strangled his nephew while in a laudanum haze ("Jasper's Confession"). Durdles the gravedigger, however, disagrees; he witnessed the crime and knows who truly killed Edwin Drood. Depending on the audience's vote, the finger is pointed at Bazzard, Crisparkle, Helena, Neville, Puffer, Rosa, or Durdles himself. The murderer confesses, then sings a reprise of one of several numbers to admit his or her culpability. (If, albeit not likely, the audience chooses Jasper as the murderer, Durdles does not interrupt and a second confession is not performed.)
Still, a happy ending is needed, and the Chairman asks the audience to choose two lovers from among the remaining cast members. The two chosen members declare their love, and then reprise "Perfect Strangers". Just then, there comes a noise from the crypt, and a very-much-alive Edwin Drood appears, ready to tell all what really happened on the night of his disappearance ("The Writing On The Wall"). The mystery is solved, and the members of the company take their bows ("Don't Quit While You're Ahead" (reprise)).
John Jasper- Jasper was madly in love with Rosa Bud, and his violent split personality gladly killed Drood. His confession is a reprise of "A Man Could Go Quite Mad" and "Moonfall"
Rosa Bud- Meant to kill Jasper in revenge for his lustful advances, but killed Drood by accident as Drood was wearing Jasper's coat. Her confession is a reprise of "A Man Could Go Quite Mad" and "No Good Can Come From Bad"
Neville Landless- Humiliated by Drood, Neville murdered him in order to regain his pride and also to have a chance with Rosa Bud. His confession is a reprise of "A British Subject"
Helena Landless- Knowing her brother's hot temper, Helena murdered Drood so Neville would not be tempted to seek revenge. Her confession is a reprise of "A British Subject"
Princess Puffer- Intended to kill Jasper in order to protect Rosa from his advances, but accidentally killed Drood because he was wearing Jasper's coat. Her confession is a reprise of "The Wages of Sin"
The Rev. Mr. Crisparkle- Crisparkle was madly in love with Rosa's mother, and he saw Rosa as a reincarnation of her. He murdered Drood so that he could marry Rosa, thinking her to be the woman he loved. This version of Crisparkle's confession was introduced in the first national tour, and has been used in all productions since. His confession is a reprise of "A British Subject".
Bazzard - In an effort to boost his role in the show, murders Drood. This is definitely the most metatheatrical of the endings. His confession is a reprise of "A Man Could Go Quite Mad" and "Never the Luck"
Durdles- After Jasper laid Drood in the crypt, Durdles believed the still-alive Drood to be a ghost and so smashed his head in. (Even Durdles admits the silliness of this motive within his solo, but laments that because he has been chosen he must have one.) This solo was not used in the original Broadway production and was added for the first national tour. His confession is a reprise of "Off to the Races"
As Drood is metatheatrical, the characters of the play The Mystery of Edwin Drood are played by actors of the "Music Hall Royale", within the production. The following are the dual roles each cast member plays. Note: The actress portraying Miss Alice Nutting/Edwin Drood also performs the role of Dick Datchery up until the Voting portion of the evening. However, as is noted in the script, this is merely a "bit" within the context of The Music Hall Royale - that Miss Nutting only portrays Datchery due to a contractual obligation for her to appear in both acts of the play. Ultimately, the audience decides who Dick Datchery is within the confines of Dickens' story.
|Characters||Original Broadway Cast
|Original West End Cast
|First National Tour
|Mayor Thomas Sapsea
Chairman William Cartwright
|George Rose||Clive Reville||Ernie Wise||George Rose
Miss Alice Nutting
|Betty Buckley||Donna Murphy
|Julia Hills||Paige O'Hara||Stephanie J. Block|
Miss Deirdre Peregrine
|Patti Cohenour||Karen Culliver||Sarah Payne (replaced)
|Teresa De Zarn||Betsy Wolfe|
Mr. Clive Paget
|Howard McGillin||Howard McGillin||David Burt||Mark Jacoby||Will Chase|
|The Princess Puffer
Miss Angela Prysock
|Cleo Laine||Loretta Swit
|Lulu||Jean Stapleton||Chita Rivera|
|The Rev. Crisparkle
Mr. Cedric Moncrieffe
|George N. Martin*||George N. Martin||Martin Wimbush||William McClary||Gregg Edelman|
Mr. Victor Grinstead
|John Herrera||John Herrera||Mark Ryan||John DeLuca||Andy Karl|
Miss Janet Conover
|Jana Schneider||Alison Fraser||Marilyn Cutts||Jana Schneider||Jessie Mueller|
|Bazzard / The Waiter
Mr. Philip Bax
|Joe Grifasi||David Cromwell||Paul Bentley||Ronn Carroll||Peter Benson|
Mr. Nick Cricker
|Jerome Dempsey||Tony Azito||Phil Rose||Tony Azito||Robert Creighton|
Master Nick Cricker
|Stephen Glavin||Brad Miskell||Anthony Lennon||Michael Nostrand||Nicholas Barasch|
- The role of Crisparkle was originally portrayed both in the readings and Delacorte production by the actor/playwright, Larry Shue. When Shue died in a plane crash between the show's run at the Delacorte and its opening on Broadway, Rupert Holmes renamed the Music Hall Royale performer who portrayed Crisparkle from Wilfred Barking-Smythe to Cedric Moncrieffe, out of respect for Shue.
* Not included on the original cast recording
† Reinstated for the 2012 Broadway revival
§ Moved at the end of Act I for the Tams-Witmark licenced version and the 2012 Broadway revival
†† Moved after "Settling Up the Score" for the Tams-Witmark licenced version and the 2012 Broadway revival
For the version of Drood that Tams-Witmark licenses to theater companies, Holmes made a variety of changes to the score and libretto, many of which reflect the versions seen in the 1987 London production and the 1988 North American touring production. The numbers "A Man Could Go Quite Mad," "Ceylon," "Settling Up the Score," and the quartet reprise of "Moonfall" are not standard but are provided as "additional material" that theaters can choose to perform at their options.
- A new song, "A Private Investigation", is offered to replace "Settling Up the Score".
- "Off to the Races" swaps places with "The Name of Love/Moonfall (Reprise)" and becomes the Act One finale.
- "Ceylon" is replaced by "A British Subject", while "England Reigns" became the new Act Two opening (both numbers had been in the show during the first staged reading in 1985).
- Durdles is added as a possible murderer, and a "Murderer's confession" was composed for him, to the tune of "Off to the Races". The confessions of Neville, Helena and Crisparkle were rewritten to be reprises of "A British Subject."
- A ^ This song is performed by a different actor each night, depending upon audience vote.
- B ^ This song is performed by a different actor each night, depending upon audience vote, or alternately, not performed at all if the audience has voted for Jasper.
- C ^ This song is performed by a different pair of actors every night, depending upon audience vote.
In 1985, a recording was made of The Mystery of Edwin Drood featuring the original Broadway cast. This recording was released by Polydor with the additional subtitle, The Solve-It-Yourself Broadway Musical (Polydor 827969) and the CD included versions of "Out on a Limerick" by all five possible Datcherys (Rosa, Crisparkle, Bazzard, Neville, and Helena) and all six possible Murderer's Confessions (Puffer, Rosa, Bazzard, Crisparkle, Neville, and Helena), as well as an "instructional track" entitled "A Word From Your Chairman...." The LP and cassette included only the opening-night Confession and murderer, and omitted the "lovers." A 1990 re-issue of the cast album by Varèse Sarabande (Varèse 5597) included two tracks, "Ceylon" and "Moonfall Quartet", that are on the original LP and cassette, but not on the CD. It included only Bazzard's version of "Out on a Limerick" and two Murderer Confessions (Rosa's and Puffer's). The Polydor recording was briefly available on cassette and LP, and ultimately re-released by Varèse Sarabande. Both versions of the cast album are currently out of print, but can sometimes be found (often at a high price) through secondhand vendors or online auction sites.
An Australian cast album (GEP Records 9401) was released in 1994. This recording did not include "Ceylon" or "Moonfall Quartet", but did include three previously unrecorded tracks: "A British Subject", "Puffer's Revelation", and "Durdles' Confession". It should be noted that the Australian cast album was performed by a largely non-professional cast and used (arguably crude) midi sequencing in lieu of a live orchestra. Two songs that were omitted from Drood before it reached Broadway, "An English Music Hall" and "Evensong," (a duet between Rosa and Crisparkle) were later recorded for the 1994 album, Lost In Boston. Other songs that never made into the Broadway or London/'88 Tour (Tams-Witmark) versions include: "When the Wicked Man Comes" (sung by a much younger Deputy), "Sapsea's Song" (a music hall ditty for Mayor Sapsea), "I Wouldn't Say No" (a song and dance routine for Durdles) as well as "When Shall These Three Meet Again" - a group number which can be heard as underscoring throughout the show and in the murderer's confession: "But the night was far from bright..."
On January 29, 2013, a recording featuring the 2012 cast of the Broadway revival was released by DRG Records in a 2-disc set and as a digital download. DRG Records describes the recording as "the complete musical program on 2 compact discs" for the first time. Differences between this recording and the original recording include confessions from all eight possible murderers, two versions of "Out on a Limerick" (Bazzard and Helena), the lovers' reprise of "Perfect Strangers" (featuring a combination of Princess Puffer & Deputy, Helena & Neville, and Rosa & Durdles), a revised "Ceylon" (which now incorporates "A British Subject"), a previously cut song ("An English Music Hall") as the new opening for Act II, and the "Opium Den Ballet". Holmes penned the liner notes for the album that will reflect new material and revisions. Holmes also re-orchestrated the production for a 19-piece orchestra led by Paul Gemignani.
After Rupert Holmes wrote an initial draft that lasted three-and-a-half hours, and performed it, solo, for Joseph Papp, Gail Merrifield, and Wilford Leach, (the New York Shakespeare Festival's artistic director), Papp offered to produce the show as part of the Festival (also known as "Shakespeare in the Park"), and told Holmes that it would be immediately transferred to Broadway if it was deemed a success. The original production of The Mystery of Edwin Drood premiered in New York City's Central Park at the Delacorte Theatre on August 21, 1985 after only three weeks of rehearsals. Notably, Holmes conceived most of the orchestrations himself, a rarity for a Broadway composer.
After the final Festival performance on September 1, preparations for the Broadway transfer (retaining the original cast) immediately got underway. Following a great deal of editing (the Delacorte version contained 32 original songs and was nearly three hours long) The Mystery of Edwin Drood opened on Broadway at the Imperial Theatre on December 2, 1985. Roughly halfway through the run, the title of the musical was officially shortened to Drood (the name it continues to be licensed under). The show ran for 608 performances (not including 24 previews), and closed on May 16, 1987. The Broadway production was produced by Papp and directed by Leach, with choreography by Graciela Daniele.
The opening night cast of the Broadway production starred George Rose, Cleo Laine, John Herrera, Howard McGillin, Patti Cohenour, and Jana Schneider, who were all nominated for 1986 Tony Awards for their performances, as well as Betty Buckley in the title role. Donna Murphy, Judy Kuhn, and Rob Marshall were also members of the ensemble. (Marshall, who would later become best known as a choreographer and theater/film director, also received an early choreography credit as assistant to Daniele.) Before the show ended its run, Murphy, who was understudy to Cleo Laine and Jana Schneider, took over the title role. Other notable replacements during the show's run included Alison Fraser (taking over for Jana Schneider), Paige O'Hara (taking over for Donna Murphy as Drood), as well as Loretta Swit and later Karen Morrow, who stepped into Laine's roles.
In 1988, several months after closing on Broadway, a slightly-revised version of Drood began its first North America tour at the Kennedy Center Opera House in Washington, DC, with Rose, Schneider and O'Hara reprising their leads, and Jean Stapleton playing Laine's role. During a break in the tour George Rose returned to his home in the Dominican Republic, and was murdered during his stay. Rose was succeeded by Clive Revill. The show, also enjoyed a 1987 West End run at the Savoy Theatre in London, a second U.S. national tour, a production at the Shaw Festival in Niagara-on-the-Lake, Ontario, Canada, and numerous regional and professional and amateur theatrical productions worldwide. In 2007–08, a London revival, presented as a chamber piece and directed by Ted Craig, ran at the Warehouse Theatre.
In 2012 a London West End revival of the musical played at the Arts Theatre for a limited season from 18 May. The cast was headed by Wendi Peters as Princess Puffer, with Natalie Day as Edwin Drood, Daniel Robinson as John Jasper and Victoria Farley as Rosa Budd. The production was directed by Matthew Gould.
The Roundabout Theatre Company presented a Broadway revival at Studio 54, which opened in November 2012. The production was directed by Scott Ellis, and starred Chita Rivera as Puffer, Stephanie J. Block as Drood, Will Chase as Jasper, Jim Norton as the Chairman and Gregg Edelmann as Crisparkle.
Awards and nominations
Original Broadway production
2012 Broadway revival
|2013||Drama Desk Award||Outstanding Revival of a Musical||Nominated|
|Outstanding Actor in a Musical||Jim Norton||Nominated|
|Outstanding Actress in a Musical||Stephanie J. Block||Nominated|
|Outstanding Featured Actor in a Musical||Andy Karl||Nominated|
|Outstanding Featured Actress in a Musical||Jessie Mueller||Nominated|
|Outstanding Set Design||Anna Louizos||Nominated|
|Outstanding Sound Design||Tony Meola||Won|
|Tony Award||Best Revival of a Musical||Nominated|
|Best Performance by a Leading Actress in a Musical||Stephanie J. Block||Nominated|
|Best Performance by a Featured Actor in a Musical||Will Chase||Nominated|
|Best Direction of a Musical||Scott Ellis||Nominated|
|Best Scenic Design of a Musical||Anna Louizos||Nominated|
- "Chita Rivera Leads The Mystery of Edwin Drood for Roundabout in 2012-2013". BroadwayWorld.com. Retrieved 2012-05-07.
- Allingham, Philip V. "Some Early Dramatic Solutions to Dickens' Unfinished Mystery". The Victorian Web. Retrieved 2007-09-03.
- Allingham, Philip V. "The Cinematic Adaptations of The Mystery of Edwin Drood: 1909, 1914, 1935, and 1993; or, Dickens Gone Hollywood". The Victorian Web. Retrieved 2007-09-03.
- Holmes, Rupert. "The History of The Mystery". RupertHolmes.com. Retrieved 2007-09-02.
- Freedman, Samuel G. (1985). "Evolution of Drood as Musical". The New York Times (August 28, 1985). Retrieved 09-02-07. Check date values in:
- Boasberg, Leonard W. (June 7, 1986). "Wowing Broadway on 1st Try". Knight-Ridder Newspapers. Retrieved 09-02-07. Check date values in:
- Adolf Philipp's IBDB entry
- Holden, Stephen (June 1985). "Dickens Characters are Set to Music". The New York Times. Retrieved 09-02-07. Check date values in:
- (Kilian 1988)
- "Tams-Witmark Website - The Mystery Of Edwin Drood"
- "The Mystery of Edwin Drood". Musical Cast Album Database. Retrieved 2008-09-01.
- "Lost in Boston: Songs You Never Heard From". Amazon.com. Retrieved 2007-09-02.
- "The Mystery of Edwin Drood (New 2013 Broadway Cast Recording): Music". Amazon.com. Retrieved 2014-06-06.
- "The Mystery Of Edwin Drood (The 2013 New Broadway Cast Recording): The New 2013 Broadway Cast Recording: MP3 Downloads". Amazon.com. 2013-01-29. Retrieved 2014-06-06.
- "Cast Recordings, Broadway Cast Recordings, Broadway,New Releases,Film Soundtracks,Jazz,Cabaret". DRG Records. 2012-11-14. Retrieved 2014-06-06.
- "The Mystery Of Edwin Drood > Broadway Cast". CastAlbums.org. Retrieved 2014-06-06.
- "DRG Will Record Broadway Revival of The Mystery of Edwin Drood on Two Discs". Playbill.com. Retrieved 2014-06-06.
- (Freedman 1985)
- "The Mystery of Edwin Drood". The Internet Broadway Database. Retrieved 2007-09-02.
- Kilian, Michael (1988). "Drood Hits the Road Without Missing a Beat". The Chicago Tribune (April 15, 1988). Retrieved 09-02-07. Check date values in:
- Holmes, Rupert. "The Mystery of Edwin Drood". RupertHolmes.com. Retrieved 2007-09-02.
- Review of the Warehouse Theatre production
- Edwin Drood | West End
- The Mystery of Edwin Drood playbillvault.com
- Bawer, Carol. "The Mystery of Edwin Drood". Betty Buckley the Official Website. Retrieved 2007-09-02.
- Drood at the Internet Broadway Database
- Official site on Rupert Holmes.com
- Licensing agency information on Drood
- Video of songs from "The Mystery of Edwin Drood", 1986 Tony Awards