By Alayna Een
Front Row Reviewers explored the bloody side effects of messing with the boundary between good and evil through the Draper Historic Theatre’s stellar production of Jekyll and Hyde. Frank Wildhorn’s musical reimagining and reinventing of the classic Robert Louis Stevenson short story “Strange Case of Dr. Jekyll and Mr. Hyde” is both dark and glorious, filled with power ballads and interspersed with crisp ensemble numbers. It follows the story of an ambitious Dr. Jekyll, who sets out to tamper with the human psyche in the hopes of reviving hospital residents. The hospital’s board of governors roundly refuses his request to test his strange new drug on a hospital resident, so Jekyll determines to take the drug himself and record the effects—which turn out to be disastrous. When Jekyll loses control of his experiment, his faithful friend, John, and devoted fiancée, Emma, begin to worry. Meanwhile, trouble is stirring in the dark side of London as Jekyll’s newly released alter ego, Edward Hyde, seeks revenge on the hospital board members and becomes entangled with Lucy, a well-known lady of the night. After a string of bloody murders, Jekyll reaches a point of lucidity and banishes Hyde forever—or so he thought.
I saw the David Hasselhoff recording of Jekyll and Hyde last October, and I distinctly remember thinking that I would likely never see a community-level production of this show because of the incredible difficulty of the lead roles. The Draper Historic Theatre and director Melissa Van Dam have proved me wrong twice over by not only putting on an excellent production of the play but also by having a double cast (Jekyll cast/Hyde cast). I saw the Hyde cast.
Jekyll (Tanner Tate/Eric Smith) is one of the most demanding male roles in musical theatre because of the duality of the role, both physically and vocally, and the split-second onstage transformations between Jekyll and Hyde. Smith performs the role to perfection, infusing Jekyll with clear and upright goodness and filling Hyde with growling, slouching depravity. The transitions, aided by clever lighting (Kylee Larsen) and statement costume pieces, feel like magic tricks because of their suddenness and clarity. And while each instance is impressive, the true magnificence of it is revealed in “Confrontation.”
The leading ladies serve as foils for each other, Emma (Claire Mortensen/Hannah Schneck) the pure and steady fiancée and Lucy (Rachel Olson/Taylore Cahoon) the burlesque performer who dares to dream of better days. Their vocal styles match their characters, with Schneck’s piercingly clear vibrato and Cahoon’s powerful belts and riffs, but when they sing together in their duet “In His Eyes,” their true range is on display, and it’s one of the most stunning moments of the show (thanks in part to Heather Shelley’s music direction). Schneck’s unfailing tenderness toward Jekyll is endearing, and Cahoon’s longing for sympathy and tenderness is deeply moving.
Gabriel “John” Utterson (Johnathan Saul/Travis Wright) is Jekyll’s nervous but unfailing friend. While he plays his part well throughout, it is especially rewarding to watch his obvious discomfort and anxious refusals of female solicitation in “Bring on the Men,” even though he is a side character in the scene.
The board of governors is full of London’s high society members who range from haughty to hypocritical: The Bishop of Bassingstoke (Brett Hansen), Lord Savage (Todd Taylor/Christopher Stockslager), Lord Glossop (Taylor Brooks), Sir Archibald Proops (Trevor Noble/Tyler Rasmussen), and Lady Beaconsfield (Hailey Sewell/Deborah Johnson). Each actor is excellent in their own right and they function especially well as a group of naysayers—literally. Sir Danvers (Jerrod Dew) is Emma’s father and the only sympathetic member of the board, and Dew emphasizes his fatherly concern while demonstrating his conflicting opinions of Jekyll throughout the musical.
The robust ensemble is an incredible asset to the production, making “Façade” and “Murder” some of the most memorable numbers. The costumes, both bourgeoisie and bawdy, are a credit to their designers, Katrina Smith, Rachel Edlund, and Natalie Hathcock. The choreography (Mike Romney) fits each scene well, from polished parties to risqué dances to anxious footsteps. The simple set (Kristina Stone, Jerrod Dew) and flickering lamps set the mood for the story, with lavish furniture building on the projected backdrops.
If you’re in the mood for a lovely spring scare or a way to celebrate “Maytober,” Draper Historic Theatre’s Jekyll and Hyde is the show for you! Its phenomenal cast brings out the best of the music and the script in a meritorious performance of this macabre and classic story.
*Audience members should be aware that this play includes several instances of murder and aggression depicted onstage and is not suitable for children. The performance uses some flashing lights. Patrons cannot park in the large office building parking lot across the street.
A Review by Front Row Reviewers
Draper Historic Theatre Presents Jekyll and Hyde by Frank Wildhorn, based on a short story by Robert Louis Stevenson
Draper Historic Theatre, 12366 South 900 East, Draper Utah 84020
May 8–27, 2023, 7:00 PM. Matinees at 2:00 PM on selected days.
Tickets: $14–18
Draper Historic Theatre Website
Draper Historic Theatre Facebook Page
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