Review of Jekyll & Hyde: The Musical, Music Theatre of Connecticut
MTC opens its 32nd season with a real winner. ‘Tis the season to get scary and this production of Jekyll & Hyde fits right in, a dramatic adaptation of the hoary Robert Louis Stevenson classic about a man of science who experiments on himself and releases the demon within. As adapted to musical theater by Leslie Bricusse (Book and Lyrics) and Frank Wildhorn (music) and conceived for the stage by Wildhorn and Steven Cuden, Jekyll & Hyde isn’t a toe-tapper so much as a riveting foray into the darkness we may each harbor, in one form or another.
As a popular show that was first staged in the 1990s, it’s likely that audiences have had a chance to see Jekyll & Hyde by now. Whether you have or not, be sure to take it in at the intimate space of MTC. Here, you’re thrust into the heart of the action as this very talented and intense cast delivers this show with a power that could easily fill a much larger theater. Director Kevin Connors has assembled a great troupe to put this tale through its paces and everyone is splendid.
The set is simplicity itself, a long riser stretching into shadowy offstage areas, with a crackerjack band led by David Wolfson behind an arras. Nothing distracts from the action, which is abetted by Diane Vanderkroef’s costumes—jackets, vests, flounces, bustles, hats, hair, whiskers, it’s all well realized. The mic sets can be obtrusive, here and there, but Will Atkins’ sound design is sharp and clear, and all the voices—whether commanding majestic arias or remarking sotto voce—are compellingly present.
Despite the fact that our hero is also our villain and gets to own the stage, this is very much an ensemble piece in the sense that all the attendant figures help create this tale of a man at odds with his society, trying to prove something he believes will be of benefit to mankind but managing to ruin himself and nearly everyone else in the process. And, without getting too morbid, it might be fun to imagine some choice hypocritical leaders of our day falling into the hands of the ruthless Mr. Hyde, the way the board of governors does here. The song “Façade” felt only too relevant last week.
In Henry Jekyll (Andrew Foote) we see a driven man, trying to convince a board of naysayers—Lady Beaconsfield (Kirsti Carnahan), Sir Archibald Proops (Peter McClung), the Bishop of Basingstoke (Lou Ursone), General Lord Glossop (Bill Nabel), and Sir Danvers Carew (Donald E. Birely—a welcome return), father of Jekyll’s betrothed—that he has developed a serum that will isolate the two aspects of humanity, the good and the evil. Rightfully skeptical, the board also fear what will become of the evil part, once isolated. Good question!
In fact, after Jekyll proceeds to experiment with himself as guinea pig, the evil part runs amok in the form of Edward Hyde, a more hirsute version of Jekyll with none of the latter’s kindness. We see Jekyll’s kindness when he, alone among those of his social class, takes pity on a prostitute named Lucy Harris (Elissa DeMaria). To her, he becomes a hero, and to his fiancée, Emma Carew (Carissa Massaro), he is a man without peer, even if he does seem to be treading into deep waters. Elissa DeMaria and Carissa Massaro have done much fine work in a variety of shows at MTC and it’s a treat to see them together here perform the affecting duet about their shared object, “In His Eyes.” Massaro’s Emma is a paragon of the Victorian virtues, a seemingly flawless Angel in the House, while DeMaria’s Lucy is both frisky—“Bring on the Men”—and increasingly vulnerable, “Sympathy, Tenderness.” As with the two sides of the hero, the two main female characters gesture at a dichotomy that our social norms never quite seem to bridge.
Having to be both good and evil, alternately, falls to Andrew Foote’s very vulnerable—if somewhat overbearing—Jekyll and his monstrously vicious Hyde. Flinging a lengthy hairpiece over his visage for the latter and snarling, Foote’s performance is all the more fascinating for taking place so close to the audience. His singing voice is electrifying, and his energy as an actor is both scary and inspiring.
And that’s the word, I’d use for the entire cast and production—inspiring. And that includes notable support by Sean Hayden as Gabriel John Utterson (Horatio to Jekyll’s Hamlet), Jeff Gurner, in a trio of roles, all impeccable, Christian Cardozo as a fussy Simon Stride, and Alexandra Imbrosci-Viera and Carolyn Savoia shape-shifting between courtesans and denizens of St. James.
In Kevin Connors’ capable hands, MTC’s Jekyll & Hyde shows what a small, regional theater can do when it sinks its teeth into a show it is able to realize fully. In its humble surroundings, this show bests some bigger houses we could name. This is a Jekyll & Hyde worth seeking.
Jekyll & Hyde, The Musical
Book and Lyrics by Leslie Bricusse
Music by Frank Wildhorn
Conceived for the stage by Steve Duden & Frank Wildhorn
Orchestrations by Kim Scharnberg
Arrangements by Jason Howland
Directed by Kevin Connors
Musical Direction by David Wolfson
Scenic Design: Michael Blagys and Kelly Burr Nelsen; Lighting Design: Michael Blagys; Technical Direction: Kelly Burr Nelsen; Costume Design: Diane Vanderkroef; Sound Design: Will Atkin; Fight Choreography: Dan O’Driscoll; Stage Manager: Jim Schilling
Cast: Donald E. Birely; Christian Cardozo; Kirsti Carnahan; Elissa DeMaria; Andrew Foote; Jeff Gurner; Sean Hayden; Alexandra Imbrosci-Viera; Carissa Massaro; Peter McClung; Bill Nabel; Carolyn Savoia; Lou Ursone
Music Theatre of Connecticut
September 28-October 14, 2018