Jekyll and Hyde Little Theatre of Manchester

Review

by   John Hoyle Nov. 7th 2004 I plotted a circle starting in Manchester and extending 90 miles, so now I’m certain; There is simply not a better show to be seen on stage within 90 miles of Manchester’s Cheney Hall! There is probably not a better show at any distance. If you can see just one musical this season, make it Little Theatre of Manchester’s production of Jekyll and Hyde. If you can see just one Musical-period– make it this one! Under Lesley Gallagher’s capable direction, the 16 odd scene changes each command the viewer’s attention, timing is flawless, and Jared Towler’s lighting is superb giving feel and dimension to each scene. Scene changes take on a grace of their own with precise movement mated with music and dialog. All through this play, the silent clockwork precision of Ms. Gallagher’s direction is felt, as is her scenic vision. For example, during Chris Stone's performance of 'This is the moment' there is a graceful transition as Jekyll moves about the stage. It is one of many instances where scene changes have been choreographed into an art. Bravo Lesley! Donna Schaffer’s 13 piece orchestra is beautifully conducted, crisp and on time with all scores. This orchestra is a pleasure to hear in their own right. If there are any faults they lie in a quirky sound system. The Little Theatre apparently has an antiquated system which depends on technical wizardry, magic, and some luck to properly work. Microphones occasionally die out of their own accord, or generate peculiar intermod feedbacks. One hopes a benefactor can recognize the tremendous skill of this group and donate some much needed sound equipment. That said, Ian Penman does an outstanding job in getting the system to perform the best that is possible. I’m reminded of the Star Trek engineer who always manages to get the ship thru another challenge. Hats off for a job well done! The cast is uniformly polished and skilled. The opening solo prologue by John Michael Whitney in near darkness effectively focuses the audience. Solo dialogue openings can be risky, but Whitney’s intensity easily carries the scene. John Michael Whitney plays Jekyll’s loyal friend John Utterson. Whitney carries the role well, simultaneously conveying Uttersons stern, serious demeanor with the feel of a concerned friend. Whitney is thoroughly convincing here. His voice adds well to those of the other primary characters, and he is used wonderfully with the opening chorus, where he closes with a dynamic short closing solo, a great counterpart to his opening monologue. Chris Stone as Jekyll / Hyde, is clearly in a class of his own. While I’m hesitant to heap praises upon a leading character – because their role is clearly created in such a way as to focus emphasis on their talents – this is a case where the man’s talents take on a role of their own. Those who have seen him are consistently astounded at this mans singing ability. Stone brings depth and unrestrained power to a role that relishes and feeds upon these traits; not only bringing Hyde alive but putting him on steroids. Stone also manages to give added angst to Jekyll. The end confrontation scene between Jekyll and Hyde may be the finest portrayal to be seen and heard in theatre. People who have watched this scene on Broadway were more impressed here! There are rare, exceedingly rare occasions where a performer’s skill and talent allows them to harness a role, and become a driving force in their own right. Chris Stone has done this - he has surpassed the bounds of the character. Seldom – no Never – have I heard so many people discussing a performer during intermission! After 25 years of attending and enjoying outstanding musicals – mostly professional equity – this is The Voice - the Voice against whom all others may be measured. Marika Kraus plays Emma Carew, Jekyll’s unwaveringly loyal fiancée. Mrs. Kraus has a wonderful singing voice. She melds perfectly with Stones in their duets. Her tones are perfect. The quartet arrangement of ‘His work and nothing more’ is nothing less than transcendent. This song - featuring Chris Stone, Marika Kraus, John Michael Whitney, and Jim Metzler; - is a star in a show of superlatives. Several people commented they got goose bumps during this song. Marika is beautiful, graceful and perfect for her role. Kristin Leigh Chabot is exceptional as the sassy Red Rat (brothel) star Lucy Harris. Her character presents both strong, dynamic as well as quietly introspective scenes and songs. Kristin Chabot easily delivers both. Ms. Chabot enters with an energetic “Bring on the Men” actively moving about the stage; giving dimension to her lyrics and movement to the tune. It is not possible to not be absorbed in this multifaceted performance. This performance is enhanced by a group of bar patrons admiring her every word and move, as well as some provocative Red Rat girls. Bravo on the choreography, and on Ms. Chabot’s carrying the action with her singing. In truth, the entire theatre audience joins this group in spirit. One wishes they could join this on-stage audience of patrons if only to cheer her on along with them! As in all her stage appearances, there is not a dull moment here. Her stage presence, personality and superlative voice engage the audience completely during each of her songs as well as her scenes. There is a wonderful practice of scene control even as she exits! A unique example of a wonderfully commanding exit is as Lucy leaves Jekyll’s office with a belabored “I always do Sir” in response to his “take care of yourself”. Kristin’s appearance is heart wrenching here, we truly sense and feel her apprehension of the frightening chaotic world of the streets to which she exits. At another time Kristin simply quietly hums the theme of her tune as she poignantly exits into darkness. Once again, Gallagher subtly assures that Kristin is surrounded by a dark foreboding world. Lighting direction is exquisite here. I love the understated power of these exits and applaud both Kristin for carrying them and Lesley for envisioning them. Jim Metzler plays Sir Danvers Carew; the father of Emma Carew. Mr. Metzler gives a subdued delicate treatment to the role. His stage presence is serious as well concerned. Metzler correctly focuses on playing a supporting role here, and therefore carries it very well. Chorus arrangements are snappy, dynamic and fun. Volume and tone are again – superlatives! No theatre fan, no matter how experienced, should miss this show – Cancel those Broadway tickets – save the 2 hour ride – and find out the meaning of – there’s no place like home! This time, Connecticut’s got it!