Jekyll and Hyde: The Musical
Jekyll and Hyde: The Musical
By Steven Cuden, Leslie Bricusse, and Frank Wildhorn
Directed by Paul Castaneda
Starring John Gracey, Stephen Pugh, Erin Brenna, and Scherezada Morales-Roman
Greater Orlando Actors Theatre, Winter Park, FL</strong>
The Victorians oozed confidence. Logic and science and steam punk could solve any problem from falling arches to man’s inhumanity to his fellow man. Dr. Jekyll (Gracey) carried that torch high – he had theories, funding, and access to good drugs, but lacked suitably pliable human guinea pigs. Those stick-in-the-muds at St. Jude’s Hospital for the Hopelessly Insane were hide bound to respect medical ethics and in fear of a malpractice suite, and just wouldn’t turn over a good case study for him to cure or torture. With his wedding to beautiful Emma (Morales-Roman) right around the corner, Jekyll drinks his own medicine to further science and avoid those last minute trips to pick towel colors and silverware patterns. He’s a good addict, “able to quit any time” but still slides deeper and deeper into the pit of addiction. His dark drug-released alter ego, the maniacal Mr. Hyde (Pugh) settles up with all his petty scores ranging from the St Jude’s Board to the slattern Lucy (Brenna). She loved him, but his jealousy and anger took her from fond bachelor party memory to bloody statistic.
This huge cast show stretched the GOAT Group’s technical ability, but they happily met the challenge. Director Castaneda and choreographer Laura Dewey skillfully slid these 29 actors on and off stage with only a few dancing girls falling into the audience’s laps. The stellar singing was accompanied by a recorded orchestral soundtrack, and with wireless mikes all the singing came across clearly, except for a few of Emma’s lines. It took a few songs for Dr Jekyll to grow on me, but his stage transitions to and from Mr. Hyde were so slick I didn’t even catch the first one. Pugh’s singing and stage demeanor recalls the sort of practice you might need for a theme park horror night, and Jekyll always seemed composed, even when ranting about the St Jude Board. Brenna’s passion for this elegant misanthrope felt stronger than Morales-Romans, but then Brenna was the professional fallen woman with less to lose. Ensemble numbers including “Murder, Murder” and “Façade” blasted out like a church choir, and individual songs and duets “In His Eyes”, “Dangerous Games” were beautifully executed as well.
GOAT did an amazing job on this classic melodrama, marshalling a top notch crew and putting all their skills to good use. The small stage made it all the more effective, it’s nearly impossible to be more than 50 feet from any actor, so you felt the full effect of their actions without any need to squint. This is some of the finest community theater you’ll ever run into.
For more information on Greater Orlando Actor’s Theatre, please visit http://http://www.goatgroup.com/
