Jekyll & Hyde

Jekyll & Hyde is a 1990 musical loosely based on the 1886 classic story by Robert Louis Stevenson. It was originally conceived for the stage by Frank Wildhorn and Steve Cuden and features music by Frank Widhorn a book by Leslie Bricusse and lyrics by all of them. In an attempt to find a chemical breakthrough to help cure his father’s mental illness and solve some serious medical dilemmas he was rebuffed by the powers that be so he decides to make himself the subject of his experiments. He inadvertently creates an alternate personality of pure evil, dubbed Mr. Hyde who wreaks murderous havoc on the city of London.

On an open stage, the set consisted of a raised Balcony/Walkway with stairways either side and beneath it were two arched large doorways. In front of the stage and to the left was a chaise longue and table which depicted the lounge at Emma’s house, later becoming the bedroom for Lucy. On the opposite side, not initially visible, was Dr. Jekyll’s Laboratory suitably fitted out. Other props for various scenes were taken on and off by cast members. 

There is no question that this is one musical that most definitely is totally dependent on the expertise and quality of the lead performer and I must say, without a shadow of a doubt, we witnessed an absolutely outstanding performance from Karl Brennan-Collis. It is such a demanding role not only for the physical aspects of it but also for the acting and vocal challenges that are paramount if one is to believe the switch between the very differing personalities of Jekyll and Hyde. Karl has a truly superb singing voice that was to the forefront in the many, many and most difficult of narrative and emotional songs he has to deliver. His singing of ‘This is the Moment’, in particular, gave me goosebumps but every song was delivered so passionately and sung so wonderfully. The chemistry between himself and his fiancee Emma was so touchingly moving and so different from that with Lucy, the prostitute. The transformation from the romantic upright Doctor to the evil, frenzied and deranged Hyde was achieved so dramatically by the loosening of his ponytail hair, a change in clothing, a Top Hat, facial and body contortions and of course, a more raucous edge to his voice. The many ‘murders’ Hyde carried out were well achieved without being too brutish and on one occasion the creepy and knowing smile he gave, as he closed the doors following one of his murders, was spine-chilling. It was indeed a phenomenal performance by Karl, well deserving of every accolade. There were so many other performances that were equally worthy of praise and obviously so necessary for the show to succeed. Jon Bennett gave a standout performance as Gabriel John Utterson. He was the epitome of a true supportive friend quite calm and collected and his duet  ‘Pursue the Truth’ was great as was the quartet ‘His Work and Nothing More’ with Jekyll, Emma and Sir Danvers. Alison Doram was so delightful and excelled as Emma Carew, Jekyll’s bride-to-be. She brought out the gentleness and romantic side of the character coupled with quite a fierce and determined trait splendidly and she has such a beautiful singing voice. Her duet with Jekyll ‘Take Me As I Am’ and ‘In his Eyes’ with Lucy were just great and at Jekyll’s demise, she was truly distraught. Another excellent performance came from Naomi King as Lucy Harris, a prostitute. Her senuous delivery of ‘Bring on the Men’, together with the other prostitutes and the accompanying dance, was so sexily and provocatively accomplished. She was a dreamer and so in love with Jekyll and the scene where she went to him following an ‘attack’ was so moving and the singing of ‘Someone Like You’ was so heart-felt. She did not know that he was also Hyde and their ‘togetherness’ was so sleazy and later when he appeared in her bedroom and went on to cut her throat it was just so gruesome. Nellie, Lucy’s friend and fellow prostitute, was well played by Rachel Brobbin. Danny Winson’s singing voice is just fabulous and as Sir Danvers Carew, the father of Emma, he portrayed the protectiveness, the aristocratic mannerisms and the compassion towards her, so perfectly. As Simon Stride, Simon Lewington certainly was strident (sorry). He portrayed the chauvinistic Secretary of the Board of Governors ideally. Other members of the Board namely David Sallis as Bishop Basingstoke, Pauline Hindle as Lady Beaconsfield, David Thorpe as Lord Savage, Jemma Beach as Lady Annabelle Proops and Alan Blair as General Lord Glossop all excelled in their different characterisations. Bethany Horan has a terrific singing voice and nobody was going to mess with her, she was definitely in charge of the prostitutes at the Red Rat brothel and Jamie Beesley as Poole, was an ideal loyal manservant to Jekyll. The fourteen members of the ensemble consisting of prostitutes, a Minister and townsfolk were all exemplary and the two big numbers that they were mainly involved with ‘Façade’ and ‘Murder, Murder’ were truly magnificently executed. 

The period costumes, make-up and wigs were stunning, the lighting plot was so effective adding perfect ambiance to the various scenes and the sound was spot-on. One aspect that really did add that extra dynamism to the production was the eight piece orchestra which was just top-notch. 

Many congratulations to the Director Carole Copeland, to the Musical Director Helen Ingham, to the Dance Captain Alison Doram, to the exceptionally talented cast, to all of the Backstage Crew and indeed to everyone else involved in this superb production, highlighting so convincingly, the dramatic conflict between good and evil. Many thanks to Sarah Morrell, for being my excellent ‘chaperone’ for the evening and also to Jon Bennett, Chairman of the Society, for rushing round from being on stage to speak with me.

© NODA CIO.  All rights reserved 

© NODA CIO. All rights reserved.