If the Broadway production of 'Jekyll & Hyde' represents
the 'Hyde' half of this musical, then the current national touring production
production symbolizes its 'Jekyll' half.
After braving the disappointing Broadway production of 'Jekyll
& Hyde', I was shocked at how much there was to love in the touring production
of the Frank Wildhorn musical. With the Broadway production fresh in my mind,
it was evident that significant improvements had been made for the tour. After
multiple recordings and stage productions, 'Jekyll & Hyde' is still evolving
and improving. The most distinct improvement is in the size of the venue.
The Plymouth Theatre stage on Broadway is small and cramped with 20 plus performers
on stage for some numbers, creating a blocking nightmare where nothing comes
across smoothly. On the wide expanse of the Fox, scenes like 'The Engagement
Party' appeared elegant and balanced. This is a musical extravaganza that
needs to be a spectacle. The Fox allowed for moving balconies and staircases
versus a few chairs on Broadway. Black and white expansive sketches of backdrops
and sliding walls effectively set the stage instead of paned glass panels
used to divide the tiny space at the Plymouth. Key musical numbers were added
or changed from the Broadway production, presenting enhancements to plot and
characterization. The musicalization of 'The Board of Governors' and the re-inclusion
of 'I Need To Know' both helped to deepen the audience's understanding of
Henry Jekyll's motivations and drive - we understand how he could have made
the decision to use himself for his experiment. Subsequently, 'This is the
Moment' conveyed its intended impact. Another wise choice was changing Lucy's
number from the chiched 'Good and Evil' to the character revealing 'Bring
On the Men'. This more appropriate and clever number also helps establish
Jekyll's initial attraction to Lucy. Overall, the tour doesn't take itself
as seriously as the Broadway production, and therfore works better.
Unfortunately, major flaws have not been remedied. Most prominent
are two ensemble numbers, 'Facade' and 'Murder, Murder'. Both show representative
English societal classes, but really they are just nameless, faceless people
wandering aimlessly across the stage as they pointlessly comment on their
observations. The music is appealing, but the stifled, robotic choreography
turn the scenes into meaningless time-fillers. Throughout, songs have a disjointed
feeling from the musical. They are not 'married' to the scene or plot, but
instead seem to comment on its themes. But, because of this cast's stellar
interpretations, I found myself buying into each number more than I had on
Broadway. The leads go a long way toward making up for the shortcomings.
The musical's greatest success is its stunning leading man,
Chuck Wagner. Wagner has one of the most flawless male voices I've heard;
his strong, rich voice is well suited for both Jekyll and Hyde's songs. His
outstanding self-titled CD does not do him justice - he sounds even better
live. Wagner is easily the finest of 3 leads I have seen in this role. His
Jekyll is driven, engaging, and handsome; but Wagner rules the stage while
playing Jekyll's alter ego, Edward Hyde.
As Hyde, Wagner literally transforms his physical appearance
and stance. He becomes a wild animal on bended knees, hunching over, growling
out many of his lines. He is physically frightening, yet has a touch of comic
wit and appeal, making his Hyde a villian that you can't help but like. This
is apparent both when he is on his murderous, vengeful rampage and when he
simultaneously repulses and attracts Lucy. And, in the climactic number 'Confrontation'
(the infamous 'hair-flipping' scene where Jekyll confronts Hyde), Wagner is
chilling and visually stunning. A scene which appeared corny to the point
of laughter on Broadway becomes the show's greatest triumph in Wagner's hands.
Equal praise goes to Andrea Rivette as Emma, Jekyll's fiance,
and Sharon Brown as Lucy, the prostitute Jekyll befriends and Hyde torments.
Vocally, their duet 'In His Eyes' was gorgeous and, visually, clearly represented
the split between Jekyll and Hyde. Rivette possesses a crystal clear voice
and presents a strong, believable Emma whom Dr. Jekyll can't help but adore.
Brown is an energetic powerhouse and her scenes with Wagner as Hyde are sexually
charged. Their duet 'Dangerous Game' demanded attention thanks to their chemistry
and blatant sexual movements. In fact, 'Dangerous Game' is the show's finest
song, a number that is fully integrated to the actions on stage.
Wagner, Rivette and Brown almost single-handedly turn a significantly flawed
piece into an entertaining experience whose faults can be forgiven. It's pleasant
surprises like this 'Jekyll & Hyde' that fuel my continual love of musical
theatre and keep me coming back for more. The Fox Theatre's Broadway series
continues with 'Ragtime', November 9-14. Call 534-1111 for tickets.