If Chuck Wagner wants to while away some time on the road, the strong-jawed
star of Frank Wildhorn's "Jekyll & Hyde" simply logs on to jekyll-hyde.com where
he always finds plenty of "Jekkies" waiting to chat. Wildhorn's musicals may
not be favorites of critics, but his work nonetheless appeals to a broad audience.
That's why this genial composer and lyricist currently has three properties
running on Broadway: "The Scarlet Pimpernel," "Jekyll & Hyde" and "The Civil
War."
All three of those shows also have touring productions. The road version of
Wildhorn's "The Civil War" just played at the Cadillac Palace (it did not do
well here, despite being a far better show than the Broadway production), and
"The Scarlet Pimpernel" is coming to the Shubert Theatre this year.
But even if Wildhorn's loyal fans help make his entire canon of work somewhat
critic-proof, it's "Jekyll & Hyde" that has most galvanized audiences. Even
though this show has been seen in several different versions; with three different
directors it still does decent business on Broadway and attracts a cultish following
on the road. In one of the last engagements of the current post-Broadway tour
(a non-Equity tour will follow next season), "Jekyll" opens on Tuesday night
at the Cadillac Palace Theatrehere.
"I am a major cultivator of the Jekkies," says Wagner. "I like interacting with
them on the Web site. I know a good number of people who have seen this show
30 or 40 times."
Sharon Brown (who plays the lead female role of Lucy) toured with "Rent," so
she knows all about over-the-top fans. "The Rentheads," Brown says, "prepared
me for the phenomenon of the Jekkies."
So why does this show attract such a response? Wildhorn, whose background is
in writing for popular recording artists rather than legitimate theater, is
widely regarded as the master of the melodic hook. His music and lyrics may
not be subtle or distinctively artful, but he knows how to implant a tune in
an audience's brain. And at a time when there are widespread complaints that
too many musicals have tunes that are insufficiently hummable, Wildhorn's cheery
populist ditties have clearly filled a void.
Wagner argues that theatrical values also play a part.
"People respond to the amount of ourselves that we put into this show," Wagner
says. "They are stimulated by our passion."
If you recall the pre-Broadway tour that played the Shubert Theatre (Wildhorn's
wife, Linda Eder, played the role of Lucy), or if you have seen the current
Broadway production, you will find this version quite a different show. And
based on a look at David Warren's production in Detroit some months ago, the
road "Jekyll" has made some improvements that you will not see in New York.
Director Warren and choreographer Jerry Mitchell have trimmed the more egregious
theatrical excesses of the Broadway version and have chosen to work in a lean,
fast-moving and melodramatic style. Critics across the country have generally
regarded Mitchell's choreography as a significant improvement.
And the touring version restores two songs, "I Need to Know" and "Bring on the
Men," that were cut for the Broadway production. The latter ditty is an erotic
little production number sung by Lucy and her fellow hookers in The Red Rat.
"Our show is a sexier and a little bit more fun than the one on Broadway," says
Wagner. "We also tell the story a bit more clearly."
And since touring houses like the Cadillac Palace are much bigger than New York's
small Plymouth Theatre, the production values and pyrotechnic effects have been
beefed up considerably for the road.
Brown, who has received excellent notices, says that Chicago will be her last
engagement with the show ; and Wagner says he doesn't know yet if he will stay
with the tour beyond the Cadillac Palace. So Midwestern Jekkies in need of a
fix don't have much time left.
But don't cry for Wildhorn (who will be in Chicago this summer when Eder plays
a recently scheduled date at the Ravinia Festival). He's working hard on "Havana"
(a new big band musical written with Eder in mind), and the master of popular
theatrical appeal is already planning to turn "Dracula," "Bonnie and Clyde"
and "Blade Runner" into musicals.