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Jekyll & Hyde

a Musical
by Frank Wildhorn, Leslie Bricusse

COMPANY : Atlanta Lyric Theatre
VENUE : Robert Ferst Center for the Arts [WEBSITE]
ID# 1783

SHOWING : November 03, 2006 - November 05, 2006



Good and evil epically clash in this powerful musical tale of murder, passion, and intrigue. "This is the Moment" to uncover the many chills and thrills lurking in the shadows of all our hearts.

Book and Lyrics by . . . Leslie Bricusse
Music by . . . . Frank Wildhorn
Direcotr Ted Christopher
Music Director J. Lynn Thompson
Charge Scenic Artist Maria Aparo
Stage Manager Hayley Brotherton
Sound Designer Paul Fallat
Fight Choreographer Brian Farr
Assistant Musical Director Liz Faughnan
Assistant Stage Manager Kelly Greene
Choreographer Bonnie Hallman
Properties Designer Clint Horne
Scenic Designer Ben Needham
Costume Designer Sean Patton
Technical Director IJ Rosenblum
Lighting Designer Chuck Tedder
Ensemble Michael Alcorn
Ensemble Michael Austin
Mike/Newsboy Michael Austin
Ensemble Laine Binder
Lucy Rebecca Blouin
Jekyll/Hyde Daniel Britt
Ensemble Taylor Driskill
Spider Keith Dykes
Poole Brian Farr
Ensemble Laura Floyd
Emma Sara Gartland
Nellie Bonnie Hallman
Ensemble Christina LaFontaine
Lady Beaconsfield Lara Longsworth
Lord Glossop Tommy McDaniel
Ensemble Hollie Molesworth
Stride Josh R. Noble
Bishop Robert Ray
Ensemble Ami Rosen
Lord Savage Joseph Swaney
Danvers Russ Williamson
Click to Submit Cast & Crew Info for this production


Bad stucco sticks around longer than this good facade.
by Eye4Talent
Sunday, November 5, 2006
JEKYLL & HYDE is a huge show to tackle, and even though The Lyric has the resources to do it, they probably still felt a little overwhelmed by the scope of this one. The stars have to all align just right to get the cast, directors, musicians, design team and crew to pull off a show that is so familiar and is anticipated with such high expectations. For the most part, I think that astrology was on The Lyricís side this weekend.

First, let me state the obvious. The Ferst Center is a great venue, and with the budget to be able to afford such a space, it is no surprise that the set, lighting, and costume design were all done by individuals that command and deserve a high price. Also, a big budget afforded this production a pit full of wonderful musicians that, if I hadnít seen the top of J. Lynnís Thompsonís capable head leading them, I might have thought was the Broadway Orchestral recording being piped in. Of course, knowing the MD and Maestro, J. Lynn, that would never happenÖheís just that good.

The direction of the show fine which is pretty much what I expected, but I donít think thatís necessarily a good thing in this case. I mean, there are so many great directors here in Atlanta, so if they were going to bring someone in from out of town, I guess I wanted to see a whole new J&H and just be blown away by his vision and creativity. The ensemble being present in many scenes in which they are not usually was interesting, but I didn't really understand why they were there. Were they suppossed to represent the madness that is always present in the world if not always seen? I may not be theatre savvy enough to catch what Ted Christopher was trying to do with that choice. However, I do know enough to see that he is a talented and successful director, but there was nothing about this production that I donít think a local person could have done. I certainly am not slamming him, I am just a big believer in a theatre company being loyal to the talent pool that is loyal to it. New blood is always refreshing, as long as the old workhorses arenít taken out back and shot to make room.

I knew that Dan Britt had the voice for the dual title role of this show, but I was a little nervous that his acting might be so over-the-top that the characters might become caricatures. In the summer cabaret series, he is so ďMr. Showboat,Ē which the audience obviously loves, so I wondered if he would be so here. Silly me! Dan is a pro who knows what audiences like, and he gave it to us with gusto. Bravo, sir.

I have always questioned why the character of Emma was diminished so much from the concept of the show (in which her name was actually Lisa) to what we see on the stage today. Unfortunately, her character isnít written with any grit, so Sara Garland didnít get an opportunity to show much in the way of acting skills. But thatís OK because she got to sing, and her voice is simply beautiful - I donít need to complicate this review with any more than that - simply beautiful.

Rebecca Blouin as Lucy was a little disappointing. In her first solo, ďBring on the MenĒ I thought that maybe she was trying to sing lazily and technically inaccurate as a character choice to reflect her dissatisfaction of her less-than-ideal circumstances. In subsequent songs, she revealed that she was more of a legitimate singer that I first thought, and she had some lovely moments. My only complaint is that she had some glaring problems with her break, and Lucy is written with such a wide range, that a smooth transition between legit and belt is essential. Being that Lucy sings some of my all-time favorite ballads (cheesy though they may be), perhaps my judgement is a little harsher than it should be. Sill, I had looked forward to some self indulgent wallowing in my Wildhorn favorites, and it just didn't happen.

The supporting players of this production were all more than capable, and having seen most of them in leading roles of other shows, I can say that they are all stars in their own right. I mean, just look at the list of names. These are major players in the Atlanta theatre community, so of course they would not disappoint their fans by being any less wonderful when their names appear a little farther down the list than usual. The same can be said for the ensemble. Every last member of this company should be very proud.

There is one thing that really troubled me about this show. It only runs for one weekend, which seems like a waste. But thatís not the thing that troubles me. Being that audiences only have one weekend to catch The Lyric shows that are staged at The Ferst Center, why the hell are there so many empty seats?!? Perhaps the high ticket price keeps a few people from being able to afford it, but thatís what the half-price offer is for, and if they were sold out, then perhaps the tickets prices wouldnít have to be so high. High quality isnít cheap, but you get what you pay for, and every empty seat is a missed opportunity of someone to see a great show.


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