Review: JEKYLL & HYDE at Woodminster Summer Musicals

The stars fill the skies. Redwoods surround every side. And music fills the air. These are the signs that Woodminster Summer Musicals are back for another season of theater under the stars. The season kicks off with JEKYLL & HYDE, a grand production of a rarely produced show. The skies roll with thunder which is echoed by audience applause. The vocal gymnastics required by the score are tackled by a vey talented cast. You know the story but watching it unfold is exactly the magic that keeps us returning to the theater.

Dr. Henry Jekyll is a doctor with noble ambitions. He believes he has found a way to chemically separate the evil and good parts of human nature and potentially eliminate evil forever. He seeks support from the Board of Governors to continue his work which would require experimenting on live humans. When he is denied, he experiments on himself. He cuts himself off from his trusting fiance Emma Carew. His infatuation with a local dancer and lady of the night, Lucy Harris, grows into something more as he succumbs to his darker side. Realizing the dangers of his work, Jekyll tries to reverse the course of his experiments. Meanwhile the city is terrorized from an unknown evil, and apprehension and fear are on the rise.

The cast is led by Michael Parrott in the titular roles of Jeckyll and Hyde. His unassuming manner is paired with a commanding voice which makes you sit a little closer. His affable smile makes his Jekyll more compelling than his Hyde, but his voice soars with every note that each character sings. And his excellent diction means that you understand every word of every song which is vital to moving the plot along. Brianne Moore as his fiance Emma Carew perfectly places every foot, every look, and every note. Elie Kuppermann as Lucy Harris brings fiery energy and a fierce belt. Her presence is so formidable, that I’m not sure that it isn’t Edward Hyde that should be afraid of her. Benjamin Pierson as Lord Savage gives big energy laced with subtle humor. Juliet Heller’s Lady Beaconsfield is a perfect example of making a lot from a smaller role. Her presence always demands attention and deserves every laugh and applause she gets. Every now and then a voice comes from the ensemble that cuts through everything else and makes you take notice, and that is Christian Bond. Whether in his role as Spider or a simple solo in the ensemble, the tone and timbre of his voice is simply beautiful. The last name that cannot go unmentioned is Seana Nicol, both as Nellie and in the ensemble. There is something different about Nicol in comportment, presence, and charisma that makes her stand out. Her energy travels farther. Her intent and storytelling is clearer, and your eyes are just drawn to her. And she’s a wiz at hiding a wardrobe malfunction while continuing to dance.

Woodminster loves a grand set, and JEKYLL & HYDE delivers exactly that. With a center revolve to rotate two giant sets, one with two levels, the transitions are quick and clean. The set design by Joel Schlader uses the full stage allowing your eye to travel both up and across the large space. Rick Reynolds pulls double duty as both vocal director and orchestra conductor, and he succeeds on both accounts. The cast not only manages the difficult score, but relaxes into it so that nothing feels forced. The orchestra is divine, simply divine. Every time I start to think that theater could get by with a smaller pit, I’m going to remember the richness, the fullness, and beauty this group produced and know that it is always worth it. Choreography Sarah Pon creates some beautiful staging and shapes with her choreography. While many numbers are limited in some ways due to period costumes, she manages to find ways to let small movements make big impacts. Then Pon lets it all out in the bawdy number, Bring on the Men. The lighting design by Riley Richardson is another element that elevated the show. With the added challenge of starting a show in daylight and ending at night, Richardson’s work found a way to create moods and focus as needed. Joel Schlader’s direction shaped the story in its most positive light, always leaning toward hope and possibility. The blocking and movement was natural and unassuming as it should be except for The Confrontation where it seemed to falter onto the easiest, and least original path. The costumes by Jody Jaron are lovely with great care and detail for historical accuracy.