Jekyll & Hyde: pre-BROADWAY tour

JEKYLL & HYDE: NOW BACK ON BROADWAY

This production disappointed & does not deserve its' current space on Broadway. I've long loved Jekyll & Hyde & saw it twice during its’ original Broadway run [1997-2001]. That production provided a pounding & powerful ensemble, thoughtfully-cast & high-quality performers, & perfectly intimate theatre for this moody, gothic piece. This musical was created for an inventive revival, so this production’s lack of an innovative interpretation & application of its' artistic opportunity was especially disappointing. What would I have done differently? Contemporized the entire production. The script is clearly period-British, but could easily be re-imagined to a contemporary time-period; the themes of addiction & obsession seem more applicable today than ever. For being a revival, there was no fresh infusion of musical development, artistic re-imagining, or any distinct improvements from the original Broadway production. The original production was not so long ago & there are going to be a lot of audience members from the original Broadway audience [like me] who will definitely not experience any shock or awe at this attempt at a revival. The main factor missing from this production is Robert Cuccioli as Jekyll & Hyde. His Dr. Jekyll was an intense, intelligent, sophisticated gentleman; as Edward Hyde, he completely transformed his voice, physicality, and created an entire new & terrifying character. This role was out of Constantine's league...

THE PLAYERS

Constantine Maroulis as Jekyll & Hyde: Constantine's weaknesses were most clearly exhibited in The Confrontation: This song provides Jekyll’s climactic battle with Hyde. It was written to be performed as an argument between his two dueling sides with the actor forced to switch roles quickly in the number. The production 100% copped-out by having Hyde’s presence projected in a painting over the fireplace, which allowed Constantine to only actually perform the role of Jekyll. The effect was not necessarily bad, but I’m betting the reasoning behind the choice was that his Jekyll & Hyde were far too similar to be presented back-to-back since his acting chops weren't up to par. He has an undoubtedly beautiful voice, but that wasn't enough to carry this performance. Plus, his Irish/British/Australian accent was very distracting.

Teal Wicks as Emma Carew:  I have a fondness for this role because it has served as a stepping stone for some of my favorite actresses: Carolee Carmello originated the role & went on to play Lucille Frank in my very favorite musical PARADE. Christiane Noll played Emma in the Original Broadway Cast & went on to play Mother in the revival of my second favorite musical RAGTIME. Those are difficult broads to hold a candle against, but Teal Wicks held her own & was the brightest spot in this production. Ms. Wicks is best known for playing Elpheba in LA, San Fran, & Broadway productions of WICKED. She was too good for this production, but hopefully this role will serve as a stepping stone for her as well.

Deborah Cox as Lucy: The role of Lucy belongs to composer Frank Wildhorn's ex-wife Linda Eder the same way Christine Daaé belongs to Andrew Lloyd Webber's ex-wife Sarah Brightman. However, Deborah Cox was completely competent in the role. I wasn't expecting much from Ms. Cox except lungs of steel. I also didn't realize she had made her Broadway debut as the title role in AIDA. Both Aida & Lucy require killer voices with quality acting ability behind the voice. Deborah Cox’s Lucy was a downtrodden, hopeful, relatable character that reminded me of Sally in Oliver!. I’m glad Ms. Cox has made the leap from a recording star to Broadway actress; it’s a great fit & her high-quality presence was a breath of fresh air.

THE MUSIC 

The leads could definitely sing, but their skills were not enough to mask the deterioration of this musical score. This music was a skeleton of its’ former self & was infused with a contemporary rocker quality that overrode Mr. Wildhorn’s original musical meets gothic sound. It seemed a terrible decision to re-introduce songs in the revival that were cut from the original Toronto production [I Need to Know & Bring on The Men]; they were cut for a reason & re-introduced in subdued & watered-down adaptations. His Work & Nothing More used to be a powerful quartet that ended with loud & beautiful harmonies but drizzled away with a soprano’s quiet solo. Worst of all, the ensemble’s skimpy sound diluted the two great ensemble numbers [Façade & Murder, Murder] into the greatest disappointments of the show. It is surprising that the infusion of rock did not provide a simultaneous infusion of energy. To the contrary, the energy of the original & revived numbers seemed sucked out of this production. I love this musical & enjoyed some numbers, but the music (and musical as a whole) was not done justice.