25 May 2022
What they are called Jekyll and Hyde possess entered our collective ethnic consciousness as both scary tale characters, and as the reference to a split character. Setting such dark materials to music might seem such as the punchline of a bad laugh, but “Jekyll & Hyde: The Musical” — operating through May 28 from Town Theatre — handles to capture the story’s inherent subtext, as a harsh speculation on the duality associated with man. As portrayed simply by Billy Bishop, the commendable Jekyll is both a good idealistic crusader, and a suave and appealing romantic business lead; transformed via science in to the evil Hyde, Jekyll drops victim to his own dark instincts and desires, the thing he was trying to cure. Director Jamie Harrington’s loving revival of this 32-year-old Tony nominee emphasizes each tragic and romantic elements, exploring the metaphysics associated with human nature while nevertheless delivering plenty of vocal plus visual delight. Based on the 19th century novella simply by Robert Louis Stephenson, the writer of beloved works for example “Treasure Island” and “A Child’s Garden of Poems, ” this stage version by composer Frank Wildhorn and lyricists Leslie Bricusse and Steve Cuden appears to emulate the neo-operatic type of shows such as “Phantom from the Opera and “Les Miserables. “
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Thankfully, the movie director has assembled a toss with the vocal talent to achieve the highest of notes, plus sustain the richness from the score for the show’s almost two and a half hours. Bishop portrays Jekyll not as the stereotypical mad scientist, but instead a would-be progressive reformer, eager to isolate mankind’s baser instincts in a test pipe. While accepted in community as an educated gentleman plus man of science, Jekyll resents much of that society’s pretension, and with an approaching wedding to a proper woman, the noble doctor is too aware of his inevitable attraction to dive pubs and the women found right now there. As Hyde, Bishop utilizes neither makeup nor hairpiece to create Jekyll’s alter-ego, depending instead on body language as well as a raspy, “I’m Batman” expressive style, plus a wide-brimmed head wear that often obscures his functions. This is a wise choice simply by actor and director, identifying Hyde as the result of heavy impulses and conscious choices, rather than a helpless victim associated with some evil chemically-induced change for better. Indeed, the anguish therefore artfully portrayed by Bishop is mystifying to Jekyll’s peers, but is obviously analogous to the throes associated with addiction for a 21st century market. Solid support, both singing and dramatic, is given by Bill Bentley and Ben Baldwin as Jekyll’s closest friend and his fiance’s father correspondingly; they are backed by a efficient ensemble full of deep, fully developed male voices. Musical movie director Amanda Hines skillfully makes use of the cast’s vocal power in more than two number of numbers, most of which are melodically lovely, and soar along with operatic elegance and sophistication. Much dialogue is being sung rather than spoken, and fortunately every word is obviously understood. Hines’s greatest innovative triumph, however , is obvious in songs performed with the female leads. Patrician Emma (Ashley Alvarado, who gives the role with Alex Carrico) is at all periods the epitome of the blameless maiden, while Lucy (Cortlin Collins, alternating with Hannah Thompson) is the proverbial sympathetic sex worker with a center of gold.
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Each is attracted to Jekyll for various reasons, and the earnest regarding their vocals is at moments heartbreaking. The show’s emphasize — in a score full of pretty tunes — was your song “In His Eye, ” where Alvarado strike high operatic notes, unfortunately he matched by Collins with all the sultry lower tones of the jazz singer. Collins offers played plenty of ingenues within her Town career, yet her performance as Lucy is outstanding, channeling both allure and pathetic frustration of Miriam Hopkins, exactly who played a similar character in the 1931 screen version. Certainly, director Harrington has taken much of that film’s sensual subtext and complex philosophical musings. The set is really a departure from scenic developer Danny Harrington’s customary lavish style of stately lunettes plus faux-marble columns for time period pieces; instead, rugged, rough-hewn beams suggest the taverns and brothels where the majority of Hyde’s escapades transpire, along with representing the confines associated with Jekyll’s gloomy lab, saved perhaps in some dusty garret above his posh home. For scenes reflecting Greater london society, bits of nicer furnishings or set dressing are usually quickly wheeled in, yet clever lighting design concentrates attention on the actors but not background props. Harrington provides often used lighting along with great creativity, but right here, tightly focused spotlights absolutely no in on important times, and an excellent shadow impact illuminates Jekyll’s struggle with their dark side. Janet Kile’s costumes are opulently plus accurately Victorian, while Tracy Steele’s choreography is properly subdued, given the thematic content of murder plus mayhem. Still, an unscripted pas de deux carried out by Steele with At the Kinney is an excellent addition to one particular song, giving a visible representation of the yearning present in the lyrics. “Jekyll & Hyde: The Musical” isn’t really the horror story, although all of us see brief moments associated with Hyde’s serial murder gratify. And while the subject matter is usually dark, it’s the emotional longings of the characters that speak out loud long after we see the incredible transformation from good in order to evil.
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“Jekyll and Hyde”Through Might 28. Various times. City Theatre. 1012 Sumter St towntheatre. com. 803-799-2510.