Review: JEKYLL & HYDE: THE MUSICAL at Fulton Theatre

The Fulton Theatre’s production of Jekyll & Hyde: The Musical is a masterclass in theatrical artistry, showcasing remarkable talent both on and off the stage. From the haunting streets of Victorian London brought to life by scenic designer William James Mohney, to Paul Black’s evocative lighting, and Ryan J. Moller’s period-perfect costumes, the production is a visual and auditory feast. Music conductor Ben McNaboe leads a commanding score, with Michael Roman’s wig design completing the aesthetic immersion.

At the heart of the performance is David Toole’s intense portrayal of the dual roles of Dr. Henry Jekyll and Edward Hyde. His extraordinary vocal range and ability to switch characters in an instant is nothing short of impressive, especially in the spine-tingling number “The Confrontation.” Yet while Toole’s technical skill is undeniable, the emotional connections between his Jekyll and other characters—particularly Travail Maurice’s John Utterson and Kanisha Feliciano’s Emma Carew—sometimes fall short of the depth needed to fully land the tragedy of the narrative. Feliciano, however, shines with grace and poise as Emma, offering a well-rounded performance of strength and tenderness, elevated by her crystal-clear vocals. Her duet with Kristina Leopold’s Lucy in “In His Eyes” is one of the most stirring moments of the evening.

Leopold, as Lucy, is the undeniable crowd favorite of the evening. With a commanding stage presence, exceptional vocal power, and deeply emotive delivery, her renditions of “Someone Like You” and “A New Life” are breathtaking. She doesn’t just perform—she captivates. George Dvorsky also leaves a lasting impression as Sir Danvers Carew, his rich tone and dignified presence making him a consistent pleasure to watch. The ensemble’s vocal prowess is another highlight, especially in the thrilling “Murder, Murder” sequence, featuring standouts Eric Jon Mahlum, Ian J. Wettlaufer, Travail Maurice, George Dvorsky, Peter Matthew Smith, and Katie Sina.

Technologically, the production impresses with its innovative use of digital screens. Their application for seamless scene transitions and atmospheric shifts is often stunning, creating moments of visual magic. However, attempts to simulate motion using these screens—such as moving backgrounds behind static actors—feel less effective, occasionally disrupting the illusion with out-of-scale imagery or awkward digital characters.

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