[NEohioPAL] Review of Jekyll and Hyde, The Musical at Olmsted Performing Arts

[Evie Neal via NEohioPAL]

I would imagine that Angela Boehm (Producer/Director) and Christina
Haviland (Director), had a “Thelma and Louise” moment, when they decided to
produce and direct Jekyll and Hyde, The Musical at Olmstead Performing Arts
(OPA). In the past, OPA has been known for ultra-family friendly theatre,
and rather conservative productions. The choice to produce Jekyll and Hyde,
The Musical is similar to the finale of “Thelma and Louise”, where the two
ladies clasp hands, slam on the accelerator, and take a perilous flight. In
the case of this production, OPA should be proud. Not only do they take on
heavier material, stretch their actor base, but also offer two equity
contracts as part of their mission to become a professional theatre. I am
thrilled when theatres create opportunities for equity contracts, and
provide more work for the equity community. The directors also cast strong
local individuals in their supporting roles to round out the excursion into
new territory.

The story is based on the book “The Strange Case of Dr. Jekyll and Mr.
Hyde” by Robert Louis Stevenson. Music is by Frank Wildhorn, Lyrics by
Wildhorn, Leslie Bricusse, and Steve Cuden, and book by Wildhorn. The
musical premiered on Broadway in March, 1997. The story revolved around a
devoted man of science, Dr. Henry Jekyll (Michael Padgett*), who is driven
to find a chemical breakthrough that can solve his father’s comatose state,
and eventually be able to help others. Aided by his associate and longtime
friend John Utterson (Josh Rhett Noble*), Jekyll presents his suggested
study to the Board of Governors (an eclectic mix), and is denied. Jekyll
then decided to use himself as a subject for his experiments, and the
results are devastating.

Padgett as Jekyll/Hyde is fantastic. Firing on all cylinders, this artist
created an accessible Jekyll, showing his humanity, and then slowly, the
venerability as he pursued his objective. With soaring vocals, he
commands “This
Is The Moment”, with show stopping resilience, counters with illuminated
darkness on Hyde’s dramatic “Alive”, and is eerily monstrous in the
tender “Sympathy,
Tenderness.” This is a well textured and beautiful performance. Natalie
Green, as Lucy, is electric and hot. Besides her sheer beauty, Green brings
powerhouse vocals and deft acting skills to the role. She handles the knock
out numbers like “Someone Like You” and “A New Life”, as if key changes
were kernels of popcorn, and she is hungry. Seemingly effortless vocal
work, that results in a spectacular presentation for the audience. When
Padgett and Green tangle in “Dangerous Game”, I had to remind myself I
wasn’t watching pay for view. Riveting, provocative, and beautifully
executed.

The role of John Utterson is kind of a thankless role. Important to the
story, but not given tremendous weight, that is, until you have someone
with the class and style of Noble. He brings layers of emotion, and
tremendous stage presence to his scenes, and become a quiet anchor to the
distressing storyline. I don’t know if this role warrants an equity
contract, but I am sure glad that OPA did. Quality intact. And speaking of
quality, this was my first encounter watching Rachel Anderson perform. As
Emma Crew, she has a beautiful presence, a beautiful voice, and gorgeous
look. Her voice soared, and was textured with strength and compassion.
Rounding out the four horsemen or horse persons, Anderson delivered a great
portrayal, and along with Green, created a vocal event with “In His Eyes”.

The sound performances don’t stop there. Jeffrey Braun, as Sir Danvers
Carew, was spot on as Emma’s father. Good vocals and character. Rebecca
Riffle as Nellie, provided a fabulous chassis, sass for days, and her own
strong set of pipes. Michael Vitovich, as The Spider, was appropriately
creepy and mean. As a group, the Board of Governors was a blast, and
certainly provided much entertainment as they met their ill-timed end.

The robust ensemble was certainly pushed by the choreography, provided by
Josh Landis. They did dive right in and create mostly strong images, but
the main critique is faces. They need to be more expressive and connected
to the piece and lyrics that are happening. The distraction could come from
trying to keep up with the dance, guess the next move, but you cannot let
that affect your face. And, in the numbers, everyone should be coming into
the scene on the same superlative idea, which can be individually
interpreted and performed with each other. You are so important to any
piece of theatre that is heavy on leads. The ensemble is the element that
takes it to another level. So kick butt, have some fun, and Kill It!

As far as the direction, there are some details that caught my eye. The
opening reveal could have been more impressive with set. Too vast of a
stage to open up for the beginning. Scene changes were great, but at one
moment, a crew member crossed from stage right to stage left, to help move
a stage left staircase, that was distracting. One of my biggest peeves is a
“button” on the end of songs, or dance numbers. Coordinating actors, lights
and music, to create a crisp ending is key to executing a solid number. I
found those lacking several times. Also, the lighting cues seemed off
sometimes. However, the “Confrontation” lighting was great, just as long as
the cues are flawless. And the staging of the wedding at the end, was
excellent. What was lacking, will all get better in time. This is a great
beginning.

Choreography by Landis was energetic and creative, although I would have
preferred a bit more realism in “Murder, Murder”. But Landis pushed his
ensemble hard, and the results strived to get the best out of everyone,
which in many cases, was great. Loved the umbrellas. Judy Crandall coached
great vocals, and David W. Coxe, led a talented orchestra.

Meghan Cvetic called a good show, Technical Director Bob Foraker provided
effective scenery. Some scenes could have used more depth, but his best
work was the basement laboratory. That was cool. The Lighting Design by
Gary Holsopple is fine. And, Josh Caraballo provided great sound design,
along with Dawn Hyde. (Any relation?) Costumer Jane Christyson provided
some great looks.

Thelma and Louise should be very proud of this leap of faith.

There are two shows Saturday, August 9th, and the final show is on Sunday,
August, 10th.

*Member of Actor’s Equity Association

Tpography.com

8/8/2014

Please credit Tpography.com with any quotes. Thank you.

August 9 – August 10

Showtimes:

2pm and 7pm Saturdays

2pm Sundays

Tickets:

$13-$18 Reserved Seating

(440) 235-6722

Order Tickets Online
<http://www.opatickets.com/%28S%28l1e2jn421czvlwly3mkfm4pl%29%29/default.aspx>

Location:

Olmsted Performing Arts

6941 Columbia Road
Olmsted Falls, OH 44138
-------------- next part --------------
An HTML attachment was scrubbed...
URL: <http://lists.neohiopal.org/pipermail/neohiopal-neohiopal.org/attachments/20140809/81cc621f/attachment.htm>