Mesmerizing. Haunting. Lingering. Distill the theatrical experience into a singularity of words and those are the three that flash immediately to mind. Look further still behind the façade for evocative sensationalism, hypnotic chaos, captivating moments of song, movement, and storytelling…and you just might find yourself seated in The Opera House of Havre de Grace for Jekyll & Hyde. Adapted for the stage by Steven Cuden and Frank Wildhorn, this musical thriller appears on the Opera House stage just in the throng of the calendar’s most haunted month. Directed by Constantine Maroulis with Musical Direction by Shane Jensen and Choreography by Whitey Russell, this transformative theatrical engagement will haunt you through to your soul, leaving your head and heart swimming with feelings you cannot describe long after the flickering flame of this production has been snuffed out.
Prepare to immerse yourself in the world of Jekyll & Hyde. From the moment you set foot upstairs in the Opera House you’ll find you’ve slid through the slippery bonds of reality and entered ‘The Red Rat.’ A visionary approach from Director Constantine Maroulis and the combined efforts of Lighting Designer Tyler Bristow bathes the house in an eerie red glow, entreating audience members to this dangerous game. An indescribably dark and yet undeniably energetic beat— comingled of music and club sounds— infuses its way into the atmosphere by way of pre-show mixing artist Athena Hiotis. And denizens of ‘The Red Rat’ intersperse their souls amongst theatergoers as they make their ways to their seats for an evening’s captivatingly curious entertainment.
The production’s pre-show lights may be impressive, albeit disorienting, but Tyler Bristow’s real magic happens all throughout the performance. Bristow’s extraordinary understanding of the space and how to light it from certain angles is remarkable, which creates for pure atmospheric ecstasy even in moments subdued ballads; especially in moments of heightened action. While the blinking special effects for “Murder! Murder!” may appear simplistic— do not be deceived; they’re flawlessly timed and land with an exacting beat, creating a chilling pulse that accompanies each instance in which they are used. Bristow uses a lot of blues and purples to chill the verve of what’s happening on stage, frequently playing with the way his lighting cues and flood washes wend their way through the exorbitant (and yet completely necessary) amount of stage fog that hangs in a perpetual mist throughout the show. Bristow’s pièce de résistance? The flash-battles executed during “Confrontation.” Not only is the visual effect created by flipping from demonic-red and villainous-green to hallowed-white with offset-blue a breathtaking one but it’s flawlessly timed and delivered. It has a Broadway caliber feel to it, fully sucks you into the brutal action of what’s happening to Jekyll and Hyde, and drives the beat of that song implicitly. Higher praises would struggle to find purchase for any such an accomplishment in recent— or even long-standing community theatre history when it comes to lighting design.
An eerie chill slips over you from the moment you lay eyes on the set. It’s not elaborate by any stretch of the imagination but rather perfectly situated within the confines of the challenging opera house play space. Set Designer Sammy Jungwirth, working alongside Scenic Artist Karisa Sikora and Set Builder Benjamin Marsh, has fabricated something out of science-fiction with the way his scenery pops to life. The backdrop of the cemetery, which absorbs and reflects those dazzling light specials that Tyler Bristow programs into the production, makes the scenic component of this show almost look and feel alive. And it’s done without projections on the main stage to achieve this effect too. The rolling walls, rolling gates, the fluidity of these pieces of scenery is striking both in their effective nature and their visual simplicity. The stained-glass painted window and attention to detail on the brickwork of these fixtures is noteworthy. And a nod of praise goes out to Heidi Pensell and Victoria DeVoe for their work with the show’s props; though there are few, the ones that are featured fit into the design ethos of the overall production. There are praises to be had here as well for Stage Manager Emily Jewett and her run crew (Capri Blankenship and Benjamin Marsh) for their perfectly paced scenic transitions. Yes caster-bound set pieces aid in this process, but not without the refined experience of a Stage Manager like Jewett calling the shots behind the scenes. Practically perfect pacing between scenes graced this production, which is an honest miracle for The Opera House stage.
Delving into the waywardly visionary mind of Director Constantine Maroulis, the show’s sartorial aesthetic— by way of costumer Mark Briner— is an amalgamation of notions spun frenetically together into a conceptual maelstrom that is both pleasing and disorienting, odd and fascinating. You’re never quite sure what you’re looking at whether it’s the lace and corsets you see in ‘The Red Rat’ or the more polished and poised couture cut for Emma. And the Board of Governors could be anything from a space-odyssey-fantasy piece to a time-traveling steampunk adventure and a few indescribable togs thrown in the mix as well. It’s a dizzying pleasure, not unlike the show itself, trying to piece it all together, drink it all in, make it fit into what you think you know about Jekyll & Hyde.
It’s a jarring notion to embrace the fact that this production of Jekyll & Hyde marks Maroulis’ directorial debut. The show feels as if it’s been conceptualized and guided by a seasoned hand, making it all the more impressive to note this milestone first for him. The use of the space— both in the pre-show immersive experience and throughout the production— is more than a cleverness; it’s a theatrical miracle. All too often when shows ‘spill over’ into the audience the fourth wall dissolves in an unflattering fashion. But that’s not the case with Maroulis’ blocking, spatial alignment and overall drive for this production. Maroulis has created this notion of ‘Broadway in the Black Box’— a high-caliber, deeply focused, curiously conceptualized production that will leave your head spinning, your heart thundering, and your soul searing by the end of it. There’s an organic flow about the production— scenes unfold and unpack around themselves in seamless fluidity— beyond the technical mechanics of scene changes— and these characters exist like ghosts haunting their own skin, desperate to extoll the pathos of their stories to an eager, listening audience. The final moment as the lights darken for curtain call is still an inexplicable mystery; one shouldn’t speak more on it for fear of spoiling something grand but it should be stated that it was seen and experienced.
Musically the show is sensational. Shane Jensen, the show’s musical director, has taken the music of Frank Wildhorn and the lyrics and Leslie Bricusse to the cast and delivered a masterpiece. Huge swells of sound from the ensemble which are not only audible over the tracked-orchestrations but find their way out to the audience with relentless emotional turbulence searing through them. “Murder! Murder!” and “Façade” (and it’s various reprises) are pristine examples of this extraordinary sensation. The cross-sung quartet— “His Work and Nothing More” features superbly blended harmonies. Jensen not only delivers musically but puts the company of performers through their paces when it comes to articulation and crisp delivery in those heavier moments of recitative. It’s a remarkable feat for a remarkable production.
Whitney Russell achieves the impossible as the show’s choreographer. She creates a series of movements among the ensemble that somehow effectively creates the illusion of a moving turn-table. There are moments— particularly during “Façade” and later during “Murder! Murder!” where the characters move in such a fashion that you’d swear they were on a turn-table. Her precision movements, attention to the rhythmic and varying beat of each number are both impressive and a delight to behold. There’s a beautiful bizarreness to Russell’s work— the word beserk comes to mind the way she marries fluidity and erratically jarring motions— particularly with some of the more staccato movements that get laced into the dancing routines. “Bring On The Men”, a fully-choreographed routine featuring ensemble dancers Tara Edwards, Erin McArthur, Meagan Jenkins, Katelyn O’Connor, and Codey Odachowski— is crafted with a jagged edge, adding to the thrill of the number. Russell’s choreography is perfectly suited to the vision of this show and her intimate knowledge of the stage’s spatial limitations only enhances the dancing experience. Russel’s choreography for “Dangerous Game” (no doubt a hybrid collaboration between herself and Maroulis) is breathtaking; the execution of it between Hyde and Lucy gives you shivers.
With a powerhouse, talent-packed ensemble (Hunter Aldridge, Heather Bounds, Kalea Bray, Jonroy Canady, Adriana Devine, Tara Edwards, Aaron Fletcher, Adam Goldsmith, Robert Howard, Meagan Jenkins, Aaron Knight, Melanie Marcotte, Erin McArthur, Katelyn O’Connor, Cody Odachowski, Jonah Wade) the experience of this show comes to life with vivacious flourishes of sound, extraordinary character portrayals, and a unsettling notion that what you’re watching isn’t quite what it seems. You can hear the melt-the-building belt of Erin McArthur during “Murder! Murder!” oozing its way over that sinfully delicious line ‘they say a lot of blood and gore.’ And you get similar noteworthy blasts of sound from Jonah Wade, credited as the Newsboy who takes point in this number.
Many of the performing ensemble double-up as the illustrious Board of Governors— Simon Stride (Robert Howard), Sir Danvers Carew (Hunter Aldridge), Bishop of Basingstoke (Jonroy Canady), Lady Beaconsfield (Heather Bounds), Lord Savage (Kalea Bray), General Glossop (Adam Goldsmith), Sir Archibald Proops (Adriana Devine)— and their voices carry sublimely as one during their eponymous number “Board of Governors.” Among them, Heather Bounds has the most impressive and consistent high-society accent, while Adam Goldsmith showcases intense commitment and physical expression to his character’s limp. You get to see Robert Howard’s uncontrollable tremor of fear during the later bits of “Murder! Murder!” and experience the unruly ruthless villainy of Jonroy Canady (though more-so in his portrayal of Spider when he growls at Lucy during ‘The Red Rat’ scene.) The boisterous Nellie (Melanie Marcotte), though not among the Governors gives a noteworthy performance in her own right, complete with a salacious accent that suits her character’s crassness. Devil’s in the details, especially in a space so intimate and confined and this ensemble does not disappoint.
Aaron Knight takes up the mantle of John Utterson— the lawyer, fraternal mate and dearest friend to the titular character. There are glorious moments where Knight’s top tenor tones can be heard drifting through the songs, particularly during “His Work and Nothing More.” The truly remarkable thing about Knight’s approach to Utterson is perhaps his detachment; he feels aloof— as if reliving the moments of these scenes from a distant place in his memory rather than existing in them in live time. This begs the question that Constantine Maroulis sets in motion from the moment you set foot in the theatre— what exactly are you watching? A tale unfold? A ghost story? A nightmare? Knight, a seemingly inconspicuous supporting character-role, seems to almost be the lynchpin in this concept. The dizzying carousel of guessing what exactly it is you are experiencing with this production never stops turning.
Gifted with a quality soprano tone, Stephanie Meadowcroft delivers the role of Emma from a place of heart. There are tender, albeit defiant, moments played opposite her father (Sir Danvers Carew, well-cast and performed by Hunter Aldridge) and some of that determined grit clings residually in her encounters with Doctor Jekyll. When the duet, “Take Me as I Am” comes together, Meadowcroft delves into this emotional wellspring of trepidatious concern, gently massaging her feelings into the lyrics. “Once Upon a Dream”, sends Meadowcroft’s voice on a precarious voyage, trying to keep hope afloat while actualizing the reality of the situation. It’s the duet she shares (more aptly labeled ‘duet-apart’) with Lucy, “In His Eyes” that gives you a full showcase of her vocal capabilities. This is also a stunning example of Maroulis’ staging techniques (so often this scene is an opposite’s-facing-park-and-bark number) where they are angled out but toward one another, never truly seeing one another, despite crossing each other’s spatial trajectory back and forth throughout the song, creating the metaphoric visual of ships in the night, two sides of Jekyll’s coin that can never meet.
For a character that doesn’t make her debut until halfway through the first act, you’ll find yourself utterly enchanted with the harrowing misfit that is Lucy Harris (Molly McVicker.) Forget the fact that she gets rolled into ‘The Red Rat’ atop an upright piano like she’s pret-a-manger, McVicker’s inaugural belt-fest shocks the audience with both her stunning vocal prowess, commanding stage presence, and overall vivacity once she pops to life for the iconic number “Bring On The Men.” Dancing with the featured ensemble in this number whilst simultaneously owning the song, McVicker commands the stage unquestionably, which creates a stark juxtaposition to the meager, meek character that gets presented once her situation and station are further explored. The incendiary chemistry between McVicker and Hyde is an unnamable sin— laced with fear and anticipation, throttled fully into “Sympathy, Tenderness” and again during “Dangerous Game.” There’s a vocal versatility second to none that McVicker brings to the table in this role as well; richly endowed with emotional expressions, particularly when singing “A New Life.” And the way she nails the end of that numbers earns her a well-deserved outcrying ovation from the audience. Her facial expressions, body language, and overall movement, whether she’s in her confident element at ‘The Red Rat’ or terrified into ecstasy when alone in her room with Hyde, all matriculate into her vocals and inform her singing in an astonishingly impressive way.
Delivering a mercurial versatility of his own, John Murphy splits himself into the title characters of Jekyll and Hyde with much gusto and vigor. Vocally sound, there is a feral vein to his singing voice— even before the experimentations. It’s a madness of sorts, creeping into that lush, smooth tenor sound as early as “Lost in the Dark.” Murphy is haunted from jump street and it informs the path that his rendition of Jekyll/Hyde takes. Most of the transformation is done in his body (with a phenomenal assist from Sound Designer Dickson Teel for that mic-FX used subtly but effectively in moments where Hyde speaks) and watching the way Murphy carries himself as Jekyll versus as Hyde is truly striking, particularly during “Confrontation.” It’s simultaneously liberating and exhausting to watch that whole song explode the way it does. There’s something disquieting, truly unsettling about that harrowing expression that frequently crosses Murphy’s face— the ghost of the goodness of Jekyll’s soul, perhaps— whenever he comes back to himself as Jekyll. Watching Murphy stride through “Alive” (post-transformation) and physically assemble himself from stolen props and costumes is wild. With validating sustains at the ends of his various solo numbers, like “This is the Moment” and “Confrontation”, you can hear the dueling spirits of good and evil infiltrating his lyrical approach to the songs. It’s riveting, his entire encapsulation of this hybrid character.
If you need to know the nature of the demons that possess man’s soul… their gripping and infernal nature is calling you at The Opera House of Havre de Grace this October. But like all theatre, ephemeral and transient, this one will expire into the ether before your very eyes if you don’t get your tickets. An honest must-see for the scope of raw talent on the stage alone, if not for the opportunity to feel truly alive when this evocative piece of reimagined musical theatre pulls you into its beautifully chaotic existence.
Running Time: 2 hours and 30 minutes with one intermission
Jekyll & Hyde plays October 11th 2024 through October 20th 2024 at The Opera House of Havre de Grace— 121 N. Union Avenue in downtown historic Havre de Grace, MD. Tickets must be purchased in advance and can be procured by calling the box office at 443-502-2005 or by purchasing them online.
To read the interview with Director Constantine Maroulis, click here.
