Dueling Dualities—A Review of Jekyll & Hyde: The Musical

By Joseph Szalinski

Well before the United States used the production and distribution of a “certain stimulant” to help fund Nicaraguan Contras and decimate disenfranchised communities domestically, Scottish authors used it to write books. Eh, just Robert Louis Stevenson. Still, his indulgence bore a prodigious output. One such novel was Strange Case of Dr. Jekyll and Mr. Hyde, a classic allegory for many things, including substance abuse. However, it’s the more sober and romance-laden stage adaptation, Jekyll & Hyde: The Musical, which serves as Paragon Theatre’s latest production, directed by Deborah Metzger and Mark Spondike, now running at Paragon Theatre in Coraopolis, PA.

Taking some liberties with the source material, the script includes new or swapped-out characters, as well as a spicy love triangle instead of a gothic mystery. Inspired by his father’s deteriorating cognitive health, Dr. Henry Jekyll devotes himself to delving into the depths of the human mind and distilling people’s good and evil qualities, despite repeated warnings from everyone in his life. Polite society finds his inquiries repulsive, his friends/family feel he’s a bit too obsessive, and his wife wants him to focus on their impending wedding. Eschewing all suggestions, Jekyll determines it’s a good idea to drink some mysterious concoctions, which unleash his darker side: Mr. Edward Hyde, a dashing deviant who targets his wealthy detractors like a Victorian Luigi Mangione. Featuring book and lyrics by Leslie Bricusse and music by Frank Wildhorn, this show boasts a slew of songs that illustrate the inner turmoil of key players in such a sordid story. A tense first act escalates into a second half rife with violence, intrigue, and excitement: plenty to ponder and even more to enjoy.

Populating this twisted world is a sprawling cast that is teeming with talent. Not only are they tremendous actors, but they all can sing and dance well, effortlessly executing choreography by director Deborah Metzger. Jordan Nofziger amazes as Henry Jekyll, the scientist who brings a DIY ethos to his experiments. John Utterson, Jekyll’s more level-headed foil and companion, receives a powerful portrayal by Jason Spider Matthews. Grace Phillips beguiles as the wild Lucy, Jekyll’s disadvantaged muse who schmoozes with him in a seedy haunt, which prompts an ill-advised companionship to take root. Phillips does a tremendous job delving into the character’s complexity. Niki Slaven-Rettig tugs on heartstrings as Emma Carew, Jekyll’s bride-to-be. She sees the best in him and champions his pursuits even when others do not. Selfless and kind, she lends much-needed humanity to a tale that lacks it in some respects. Delivering a rousing rendition of Mr. Edward Hyde, the assassin of the affluent and abrasive, is Adam Speers. Wielding impressive physicality, he dominates the stage during his appearances, towering over the terrified souls who get in his way. His introductory song is boisterous and one of the best of the show.

Peppering the plot is a bevy of brilliant performances featuring Mark Spondike as Sir Danvers Carew, Alex Kerr as Simon Stride, Adam Bolette as Sir Archibald Proops, Kathy Ciesielski as Lady Savage, Todd Allman as General Lord Glossop, Lisa Cavlovich as Lady Beaconsfield, Josh Plowman as The Bishop of Basingstoke, Addy Hildenbrand as Nellie, Kirk Peters as Spider, and Donna Singleton Poole. Rounding out the cast are Jacqulyn Fyock, Donna Singleton, Marina Varvaro, and Jack Mangold as Ensemble/Various Roles, and Bethany Tonarelli, Samantha Cox, Angie Griffo, Kate Giger, and Elli Vallow as Ensemble/Dancers.

Technical elements are astounding. The set and props have so much personality and charm, they’re glorified members of the cast. Similarly, the gorgeous costumes by Alison Marschke and Chris Yakicic help the actors further realize their onstage personas. Providing deeper immersion into the fictional world are the sound by technical director Scott Metzger and facility coordinator Adam Bolette (the latter even serving as music technician), with light design courtesy of Harry Bolette. Executive/Artistic Director Deborah Metzger oversees that every facet of this production, down to the layout of the programs, is meticulously considered.

Although Paragon Theatre has been around for quite some time, over twenty-one seasons to be exact, they’ve only been in their current space for a year or so. The venue is beautiful. It is a repurposed church. Attached to it is a house where patrons can use the restroom(s). While a bit unorthodox, such a feature really accentuates the experience of attending a show there. Plus, as someone who’d cut his teeth performing spoken-word and comedy at house shows back in the day, the setup is super familiar and nostalgic. My favorite part of the theatre is the seats. My god! Many people discount the influence of comfort on enjoying art, particularly live performance, but it could be a make-or-break factor for shows that are a little longer. Shoot, I’d buy tickets to any show just to sit in those seats. I’d give them a standing ovation, but that seems counterintuitive. Hopefully, other companies and venues will take the hint. Beyond Paragon’s physical properties, their ability to curate a season is also commendable, with some solid shows slated for the future.

Jekyll & Hyde: The Musical continues its run April 23^rd-25^th, in Coraopolis, PA. For additional information and tickets, click here.