The Ugly Xmas Sweater Musical - Playhouse on Park

The Ugly Xmas Sweater Musical, receiving its East Coast premiere at Playhouse on Park, is a loosely structured, silly, over-the-top holiday show that is big on audience interaction. 

Jef Canter, Cheron Whittley, Michelle Jennings and Marcel Werder in The Ugly Xmas Sweater Musical.  Photo by Meredith Longo.

The premise – employees at American Regalia Uniforms are awaiting their Christmas bonuses.  There is Cheryl (Michelle Jennings), the perky, positive thinking HR Director; Doug (Marcel Werder), a childish flirt; Niles (also played by Werder), a stylish influencer; Charlie (Jef Canter), a soon-to-retire member of the team and Kelli, Cheryl’s daughter and Misty, the staff intern (both portrayed by Cheron Whittley).  Unfortunately, the president of the firm has secretly sold the company to a German conglomerate and absconded with the proceeds and, more importantly, the staff’s bonuses.  To compound matters, the tyrannical new boss, Olga (Lara Yen Solito) wants to close the company.  What can save the day?  Coming up with a line of, can you believe, ugly sweaters!

Cheron Whittley in The Ugly Xmas Sweater Musical.  Photo by Meredith Longo.

What follows are songs, a smattering of lively choreography from Darlene Zoller, bad jokes, and a heaping spoonful of audience interaction for ticket holders wearing, you guessed it, ugly sweaters.  The book, co-written by Dan Knechtges and Megan Larche Dominick, comes across as a slapdash effort amplified by Suzu Sakai’s mishmash Scenic Design of holiday decorations and Kevin Cronin’s haphazard direction.  The cast of performers are game for whatever shenanigans in the script are thrust upon them.

Cheron Whittley, Jef Canter, Michelle Jennings and Marcel Werder in The Ugly Xmas Sweater Musical.  Photo by Meredith Longo.

The Ugly Xmas Sweater Musical, playing at Playhouse on Park through December 22.  Click here for dates, times and ticket information.

She Loves Me - Long Wharf Theatre

She Loves Me, one of the classic musicals of Broadway’s Golden Age, is receiving a rapturous production at the Long Wharf Theatre.  The show is based on the 1937 play Parfumerie (and the basis for the 1940 film, The Shop Around the Corner; the 1949 movie, The Good Old Summertime; and 1998's You've Got Mail).  She Loves Me has one of the most melodic and tuneful scores ever written for the stage and the cast deliver the songs with powerful and luxurious voices.

 

The plot centers around Maraczek’s, a parfumerie boutique in 1930’s Budapest.  The employees, under the proprietorship of Zolton Maraczek, are a tight-knit group.  There is Georg Nowak, the hard-working, determined assistant manager; Steven Kodaly, an urbane, rascally womanizer; Ilona Ritter, a disillusioned clerk looking for love; Ladislav Sipos, a long-time, sullen staff member; and Arpad Laszlo, a young, eager delivery boy.  Enter Amalia Balash, who finagles a position at the shop, much to the chagrin of Mr. Nowak.  The two bicker and are quarrelsome.  However, we quickly learn, and unbeknownst to each other, have had an ongoing pen pal relationship where they met through a lonely hearts ad in the newspaper.

 

Their letters are the precursor to what could be an eventual meeting and romantic relationship.  The question – will they or won’t they?  And, how will the goings-on at the shop effect their amorous rapport?

 

The music by Jerry Bock is lustrous, combining delicately structured ballads, heartfelt numbers, and comedic gems.  Under the direction of Musical Director Miles Plant, with a Sound Design by Alex Neumann, the four musicians, give the songs a joyous, lively delivery.  The lyrics by Sheldon Harnick are elegantly written, conveying unfeigned emotions.  They are tightly structured, providing well-appointed chronicles of the character’s everyday lives.  The following year their partnership reached its zenith with the musical Fiddler on the Roof.

 

Director Jacob G. Padron, who also serves as Artistic Director of the Long Wharf Theatre, applies sure-handed guidance to the production.  The pacing proceeds at a fluid pace, either with a few performers or with the entire cast.  His work is helped immensely by Scenic Designer Emmie Finckel’s moveable display counters that allows for a swift transformation of the small-sized performance space.

 

Long Wharf Theatre’s new mission is to take theater to different locales in the Greater New Haven area.  Last year, their award-winning production of Arthur Miller’s A View From the Bridge was set at the Canal Dock boathouse overlooking the Thames River.  For She Loves Me, Finckel has converted the gymnasium at the The Lab at ConnCORP in Hamden, CT into a gorgeously rendered, jewel-box sized theater.

 

The acting corps is superb, led by Julius Thomas III.  His low-key, sometimes baffled demeanor perfectly captures the deportment of  Georg Nowak.  Alicia Kaori’s portrayal of Amalia Balash is sometimes too petulant, but her singing is exquisite, which is rewarding for the audience since many of the best songs in the show are sung by her character.  Graham Stevens’ Steven Kodaly is suitably knavish.  Mariano Torres imbues her character of Ilona Ritter with just the right amount of flirtation and umbrage.  Danny Bolero as the dour clerk, Ladislav Sipos; and Felix Torrez-Ponce as the delivery boy Arpad Laszlo, provide the most gratifying portrayals of the show.  Raphael Nash Thompson is satisfying as Mr. Maraczek.  Special acknowledgement goes to the four-person ensemble that enlivens every scene they are in.

 

Jiyoun Chang’s Lighting Design adds a festiveness to the production, especially the constantly changing colored globes above the stage.  Sarita P. Fellows Costume Designs are beautifully executed and period appropriate.  And those shoes!

 

She Loves Me, a show to be embraced, playing through December 30.  Click here for dates, times, and ticket information.

 

Maybe Happy Ending - Broadway

Darren Criss in Maybe Happy Ending. Photo: Matthew Murphy and Evan Zimmerman

The new musical Maybe Happy Ending is magical and heartfelt.  I laughed.  I was astonished.  I just about cried at the marvelous, surprise ending.  Director Michael Arden, a Tony winner for his dazzling work on the recent revival of Parade, has crafted an even more inspiring production with Maybe Happy Ending.  Working with the stunning, multi-faceted sets fashioned by Scenic Designer Dane Laffrey, the futuristic video projections by George Reeve (along with Ms. Laffrey), and the striking Lighting Design by Ben Stanton, the director has fabricated a world that is a visual and aural feast.  One of many examples is the firefly scene in the forests of Jeju Island.  It is absolutely breathtaking.

 

The setting is the not-too-distant future in Seoul, Korea.  Oliver (Darren Criss) is what’s termed a helper-bot, series 3 model, humanoid in appearance.  He exists in a small, studio-like apartment for outdated bots awaiting the return of his owner (Marcus Choi).  Years go by, but his routine of reading and listening to jazz records never wanes until, one day, there is a knock at his door.  After hesitating – no one has ever visited him – he opens the door to find Claire (Helen J. Chen), a series 5 model, who lives across the hall.  Her charger is broken and she asks to use Oliver’s device.  Again, reluctance, but he finally agrees.  From there, a relationship slowly matures, which leads the two bots on a road trip of self-discovery and adventure.

Helen J Shen, Darren Criss in Maybe Happy Ending. Photo: Matthew Murphy and Evan Zimmerman.

 

Bookwriters Hue Park and Will Aronson have woven a tightly plotted story that is humorous will shadings of melancholy.  In a very short time, they manage to develop characters that are compelling and complex.  The hopes, dreams, and desires they instill in Oliver and Claire are universal.

 

The music and lyrics by Park and Aronson is full of songs speaking to the anticipation and aspirations of the bots.  They help round out the characters and the situations that arise.  The score is unfussy and direct with engaging solos and duets by the two main characters.  They have also added the character of Gil Brently (Dez Duron), a suave, jazz singing crooner who pops up every so often with songs commenting on the ongoing bot’s situation and relationships.

 

Helen J Shen, Darren Criss in Maybe Happy Ending. Photo: Matthew Murphy and Evan Zimmerman.

The cast is superb.  Darren Criss, the older model helper-bot, is slightly more robotic then Claire.  He beautifully brings Oliver to life with empathy, curiosity, and a slight degree of naivete.  His show ending gesture is poignant and joyful.  Helen J. Chen’s series 5 bot is more knowing and understanding of the world than Oliver.  The actress impressively brings a sophisticated, experienced feel to her character, tempered with a longing to be loved.  The two have an enchanting chemistry together, which fuels the musical through its enrapturing conclusion.  Marcus Choi, playing a number of roles, but primarily that of James, Oliver’s former owner, effectively provides context and a human component to the show.

 

Maybe Happy Ending, a musical to be experienced on the Broadway stage.

A Christmas Story - Goodspeed Opera House

Connecticut’s professional theaters are offering a wide assortment of holiday themed shows this time of year.  The first production to open is the delightful, family-oriented musical A Christmas Story.  The show is based on the 1983 film of the same name which, in turn, was based on the writings of humorist Jean Shepherd.  The production has a number of notable features:

1.    A tuneful, fun-filled score by Benji Pasek and Justin Paul (of Dear Evan Hansen fame).

2.   A talented lead in the young actor Christopher Riley as Ralphie.

3.   A bevy of talented adolescent performers.

4.   A pair of Bill Berloni trained dogs that, in their cameo appearances, steal the show (as well as the turkey).

 

Members of the cast of A Christmas Story.  Photo by Diane Sobolewski.

 

Jean Shepherd’s story is a remembrance of small-town living in the fictionalized Hohman, Indiana.  Times were simpler in 1940, when the show takes place.  Shepherd is portrayed with impish charm by John Scherer.  He serves as narrator for the entertaining and comical memories.  Joseph Robinette’s faithful book adaptation, centers on family life – the good, the bad, and everything in-between.  And, of course, the main thrust of the show is Ralphie’s (Jean Shepherd’s alter-ego) desire for the ultimate Christmas present – a Red Ryder Carbine Action BB Gun.  The problem – countering the prevalent parental opinion that by possessing the playful firearm “he’ll shoot his eye out.”  Trying to convince his mom and dad, overtly and covertly, to purchase the greatest gift ever is the primary focus of the musical.

 

The show includes all the iconic moments from the movie:

1.    A lamp shaped like a woman's leg.

2.   The holiday turkey.

3.   Santa at Higbee’s Department Store.

4.   The frozen pole “triple dog dare” bet.

5.    The bunny suit.

 

Christopher Riley of A Christmas Story.  Photo by Diane Sobolewski.

 

Director Hunter Foster seamlessly guides the production with creative flourishes, brisk storytelling, and inventive embellishments.  Choreographer Mara Newbery Greer stages energetic and inspired dance routines for such songs as “Ralphie to the Rescue;” “A Major Award;” which has Dad belting out the number backed by an ensemble grasping leg-shaped lamps; and “You’ll Shoot Your Eye Out,” with a sensational tap dance routine by a chorus of the young performers and Rashidra Scott (school teacher Mrs. Shields).

 

Rashidra Scott and members of the cast of A Christmas Story.  Photo by Diane Sobolewski.

The music and lyrics by Benji Pasek and Justin Paul, their first Broadway score, is lively, with a multitude of good-humored songs.  They smoothly advance the plot and give each of the central characters a moment to shine.  Standouts include “Red Ryder Carbine Action BB Gun,” “Ralphie to the Rescue,” “A Major Award,” and “Somewhere Hovering Over Indiana.”

 

The cast is led by Christopher Riley (Ralphie), who is an adorable and adept performer.  A Christmas Story succeeds due to this young actor’s competence and flair.  While Riley deservedly receives kudos, all the youthful performers in the musical are first-rate.

Jim Stanek, Camilo Velasquez Escamilla, Jenn Gambatese and Christopher Riley of A Christmas Story.  Photo by Diane Sobolewski.

 

The adults in the production are led by a quartet of experienced thespians.  There is the aforementioned John Scherer, who was a hoot in The Prom this past summer at the Sharon Playhouse.  Jenn Gambatese, who has an impressive Broadway resume, imbues Ralphie’s mother with a quiet fortitude and loving family manner.  Jim Stanek, another veteran of the New York stage, gives father, a rascally edge tinged with a warm and caring heart.  His big, razzle dazzle production number, “A Major Award,” is one of the many highlights of the musical.  Rashidra Scott’s role of Miss Shields is more of a featured role, but there is nothing secondary about her tour de force solo and accompanying hoofing in “You’ll Shoot Your Eye Out.”

 

Oh, and let’s not leave out the highly trained canines Gus and Jethro who’s every appearance is met with cheers.

 

Members of the cast of A Christmas Story.  Photo by Diane Sobolewski.

David L. Arsenault’s Scenic Design captures all the unforgettable junctures of the film.  Christopher Wong’s Lighting Design heightens the mood and playfulness of many scenes and production numbers.  Nicole V. Moody’s Costume Design brings the early 1940’s to life as well as providing some luminous outfits during the dreamy dance routines.

 

A Christmas Story, continuing at the Goodspeed Opera House through December 29.  Click here for dates, times, and ticket information.

In the Heights - Downtown Cabaret Theatre

If you have never seen Lin-Manuel Miranda’s first musical, In The Heights, then you want to head to the Downtown Cabaret Theatre in Bridgeport where the company is staging a spirited, well-acted production of the musical.  The show, with a score by the multi-talented composer/actor, combines rap, hip-hop, salsa and traditional Broadway melodies to form a musical that feels fresh and  contemporary.

The cast of In the Heights.

The book by Quiara Alegría Hudes covers a few days within the multi-ethnic neighborhood of Washington Heights in Upper Manhattan.  The book lacks overly dramatic elements but, for the most part, the libretto is rudimentary, mostly sketching together a series of slice-of-life complications.  Overall, the emphasis of the show is family and community.

We are introduced to this section of New York City and the denizens of the area by Usnavi, performed with confidence and a touch of innocence by Manny Gonzalez.  He runs a bodega with his cousin Sonny (played with comic brio by Nick Nuñez).  Abuela Claudia (Jane Prieto), an elderly woman, who raised Usnavi, is the heart and soul of the neighborhood.  There is the hair salon run by the sassy Daniela (Heather Abrado) and two assistants, the upwardly mobile Vanessa (Juliana Rivera) and the religiously inclined Carla (Karina Brea).  The married couple, Kevin (Martin Garcia) and Camila (Cintia Maio), run a car service with their buoyant and poised employee Benny (Everton George).  Their daughter Nina (Olivia Rivera), a bright, yet struggling college student at Stanford University, has come home for the summer.  This event, and the fireworks it creates, form the nucleus of the show.  There is romance, a city-wide blackout and, by the show’s conclusion, significant changes for almost everyone that lives in The Heights.

Everton George, Manny Gonzalez and Nick Nuñez of In the Heights.

Lin-Manuel Miranda’s music and lyrics, which were so new and, in a sense, revolutionary back in 2007 when the show opened Off-Broadway now seem commonplace in a theatrical setting.  Depending on the character and scene the composer offers up a variety of musical styles.  Standouts among the songs include the title number, “Enough, “Breathe,” and “It Won’t Be Long Now.”

One of the pleasures of this production is the enthusiasm and energy of the diverse acting corps.  All the aforementioned players provide high quality and nuanced performances.  Standouts include Manny Gonzalez as Usnavi, Juliana Rivera  as Vanessa, Heather Abrado as Daniela and the audience favorite, Jane Prieto as Abuela Claudia.

Juliana Rivera, Heather Abrado, Olivia Rivera, and Karina Brea of In the Heights.

Director Ben Tostado keeps the action lively and the pacing smooth.  Each scene naturally evolves from one moment to another.  Olivia Rivera, who doubles as the production’s choreographer, adds a few dynamic dance sequences to the show.

This production of In the Heights has no live band.  However, the professional sounding cast members, under the guidance of Musical Director Mark Ceppetelli, are totally in sync with the canned music, making for a thoroughly satisfying musical experience.  His work is augmented by Holly Rybnick’s proficient Sound Design.

David Kievet’s Scenic Design is tidily and effectively segmented into three distinct set pieces.  Christian Hall’s Lighting Design, at times, adds dramatic luster to the production. The Costumes by Thomas Gordon and Krista Rocco come across as totally fitting for the populace of this Manhattan neighborhood.

In the Heights, a vibrant musical, playing at the Downtown Cabaret Theatre in Bridgeport through November 24.  Click here for dates, times, and ticket information.

Sunset Boulevard - Broadway

Director Jamie Lloyd’s deconstructed and dazzlingly reconceptualized production of the Andrew Lloyd Webber/Don Black/Christopher Hampton musical Sunset Boulevard is a stunning piece of theater.  Not always successful – audience members unfamiliar with the original production (1994) or first Broadway revival (2017) might find the plot hard to follow.  Nonetheless, the musical is a triumph, especially for its star, Nicole Scherzinger who, literally, delivers a show-stopping performance.

Nicole Scherzinger as Nora Desmond in Sunset Boulevard.

Sunset Boulevard is based on the classic 1950 Billy Wilder film and revolves around the faded silent screen legend Norma Desmond (Nicole Scherzinger) and her relationship with a cynical, down-on-his-luck screenwriter, Joe Gillis (Tom Francis).  Through happenstance, the two come together to work on the former film star’s unwieldly movie script, which she sees as her ticket back to stardom.  Moving into Norma Desmond’s palatial manor, the writer becomes more entrenched within her life, all under the watchful eye of Max (David Thaxton), her faithful manservant.  Complicating matters is Gillis’ growing affection to Betty Schaefer (Grace Hodgett Young), a perky, young studio assistant, who happens to be engaged to the former’s best friend.  At times subservient to Desmond’s demands, at other moments rebellious, Gillis finally looks to break free from his gilded life with tragic consequences.

 

Tom Francis and the ensemble in Sunset Boulevard.

Lloyd has framed the production on an almost scene-free stage, giving the impression of an empty movie set.  The director makes significant use of towering, real-time video projections, so effectively rendered by Nathan Amzi and Joe Ransom.  I am not a huge fan of this device, but Lloyd manages to make it work, most of the time, by delivering, simultaneously, the drama on stage with a film noir backdrop.  There are certain scenes which could have benefitted without the video.  The close-ups are particularly penetrating, adding another layer to the actor’s performances.  Jack Knowles’ Lighting Designer is integral to the show’s success.  He bathes the production in shadows and silhouettes, which adds to the moodiness and disillusionment of the characters. 

 

The ensemble of Sunset Boulevard.

The director has streamlined the show by excising a few scenes from the original stagings of the musical, such as Norma’s spa treatments ("Eternal Youth Is Worth a Little Suffering") and Joe Gillis’s primping by a gaggle of Men’s Shop salesmen ("The Lady's Paying").  While not affecting the narrative, the stark staging  of the production gives only a few reference points for individuals unacquainted with the show.  My daughter, who attended with me, was slightly confused with the storyline, even though it did not curtail her overall enthusiasm for the production.

 

The success of Sunset Boulevard rise and falls with the actress playing Norma Desmond.  Nicole Scherzinger, who originated the role on the London stage, winning the Olivier Award for Best Actress, redefines the role, bringing a sexier, more agile interpretation to her portrayal of the deluded former movie star.  Her mannerisms and vocal inflections reflect the silent film era.  They come into crisp, unfettered focus when displayed on the enormous, backstage screen.  Her romantic relationship with Joe Gillis also becomes more believable and plausible. 

 

Nicole Scherzinger in the Broadway revival of Sunset Boulevard.

Ms. Scherzinger, a former member of the pop group, The Pussycat Dolls, has an exceptional singing voice that brings power and passion to the Andrew Lloyd Webber/Don Black/Christopher Hampton score.  Her rendition of “With One Look” brought the audience to their feet, while "As If We Never Said Goodbye" brought sustained applause.  Overall, the music and lyrics in the mostly sung-through show, are one of the better scores within the Andrew Lloyd Webber canon.

 

David Thaxton as Max in Sunset Boulevard.

Tom Francis’ characterization of Joe Gillis is infused with the requisite sarcastic quips and down-on-his-luck edge.  I found his portrayal boosted by the video projections, which seemed to magnify his woeful, fated destiny.  Grace Hodgett Young imbues Besty Schaeffer with a hard-driving, career girl temperament.  Her portrayal is mitigated with spunk, but also a more realistic acerbic, defeatist demeanor. David Thaxton gives a fine portrayal of Max Von Mayerling, Nora Desmond’s manservant and one-time director.  His character’s demeanor and stifling presence is also aided by the video projections, with his snarling, sometimes menacing, presence towering above the stage.

 

Members of the ensemble, a more amorphous group, fill in for the minor roles while also serving as a Greek-like chorus.  Their movements by Choreographer Fabian Aloise are, at times, exciting, mirroring the tumult in the story.  But the sequences helmed by Ms. Aloise can also be puzzling and distracting.

 

Sunset Boulevard, now playing at the St. James theater on Broadway.

 

The 39 Steps - Westport Country Playhouse

The Westport Country Playhouse kicks off its 2024 – 2025 Season of Laughter with the amusing The 39 Steps.  Based on Alfred Hitchcock’s classic film of the same name, as well as the John Buchan novel, this humorous romp reenacts the film…with just four actors.  There is the intrepid hero, Richard Hannay who, as is common in Hitchcock flicks, is wrongly accused of murder while, at the same time, chasing spies without being snuffed out himself.  There is a romantic interest and enough adventure, oddball characters, and derring-do to satisfy any audience member.

 

The Cast of The 39 Steps.  Photo by Carol Rosegg.

Patrick Barlow, who adapted the show from the source material, has dreamed up what seems like a limitless number of inventive verbal and visual gags.  The playwright closely follows the story’s well-known premise so even individuals unfamiliar with the plot can easily follow along.

 

Director Mark Shanahan keeps the action barreling forward at a rapid clip.  The flow is greatly enhanced by Movement Coordinator Steve Pacek’s dexterous work with the actors.  The cast seems game for anything the director throws at them, which includes a heaping dollop of physical humor, giddy wordplay, and dry, British wit.

 

Sharone Sayegh, Joe Delafield and Evan Zes in The 39 Steps.  Photo by Carol Rosegg.

There are pauses, usually for schtick by actors Seth Andrew Bridges (Clown I) and Evan Zes (Clown 2), who portray what seems like an infinite number of eccentric and devilish characters.  The most entertaining scenes are those with little opportunity to linger, but even those moments that tarry too long are usually saved by the antics and quick change artistry of Bridges and Zes.  Ryan Rumery’s Sound Design adds an audio component to these hijinks.

 

Joe Delafield, as with all Hitchcock heroes, brings a honorable, self-importance to his role as Richard Hannay.  The actor, who occasionally seems to channel his innermost John Cleese (of Monty Python fame), rightly plays the straight man to facilitate the tomfoolery on stage.  Sharone Sayegh is dastardly sweet as the international spy Annabella Schmidt and appropriately flustered as the heroine Margaret.  Seth Andrew Bridges and Evan Zes probably have the most fun in the production.  They are constantly changing characters, adding accents, and clowning around as they portray, well I lost count of how many people they impersonate.  If there is one standout within the ensemble of performers it is Evan Zes, who’s nonstop comedic prowess is inspired.

Sharone Sayegh and Joe Delafield in The 39 Steps.  Photo by Carol Rosegg.

 

James J. Fenton’s quick-changing Scenic Designs are full of whimsy and creativity and helped by J. Dominic Chacon’s sometimes moody Lighting Design. The pleasure of Jeni Schaefer’s Costume Designs are their quantity, variety, and versatility.

 

The 39 Steps runs through November 9 at the Westport Country Playhouse.  Click here for dates, times, and ticket information.

 

Jekyll and Hyde - Hartford Stage

Jekyll and Hyde, playing now at Hartford Stage, should not be confused with the well-known Frank Wildhorn musical. This version, which kicks off the theater's current season, is a dramatic work based on the Robert Louis Stevenson novella.   Playwright Jeffrey Hatcher’s adaptation is entertaining and highly theatrical.  He throws in a splattering of comedic touches along with the requisite thrills and chills.  Director Melia Bensussen, working with Scenic Designer Sara Brown’s eerily Gothic set and Evan C. Anderson’s atmospheric Lighting Design, has cast members scurrying about - popping up from the floor, winding their way down an on-stage stairwell – in a well-orchestrated fast-paced manner.  Jane Shaw’s original music provides an ominous, foreboding feel to the show.

 

Nathan Darrow as Dr. Jekyll in Jekyll and Hyde.

 

The story, recounted numerous times in film, TV and stage productions, follows Dr. Henry Jekyll, a respected London-based doctor as he experiments with a potion he hopes will help repress his immoral, vile sensations.  The result is a transformation into the evil, murderous Edward Hyde.  During the timeframe of the show, we are introduced to Gabriel John Utterson, Dr. Jekyll’s lawyer friend; Utterson’s cousin, Richard Enfield; the pompous, Sir Danvers Carew, a rival of Dr. Jekyll;  a Dr Hastie Lanyon, a mutual friend of Jekyll and Utterson; Dr. Jekyll’s servant, Mr. Poole; and a hardscrabble woman, Elizabeth Jelkes, who becomes a paramour to Mr. Hyde.  All the characters interact with Dr. Jekyll/Mr. Hyde at some point, followed by murder and mayhem for a few of them.  The end is tragedy for the dual characters.

 

Members of the cast in Jekyll and Hyde.

 

What has made the story of Jekyll and Hyde so popular over the decades are its universal themes.  There is, among others, man’s inner struggle and tension between good and the evil, the question of morality, and the conflict between one’s external decorum and private, lustful yearnings.  Hatcher has effectively woven these topics into the show without succumbing to preachiness or unnecessary orations.  The playwright puts a satisfying spin on the transformation scenes.  Nathan Darrow, who plays Dr. Jekyll with Victorian understatement, doesn’t physically contort himself, for example, like John Barrymore in the classic 1920 film version.  In this production, Mr. Hyde is represented by up to four of the other actors, which allows the action to move steadily along without unnecessary histrionics and gives a more layered approach to the transformation and resulting change.

 

Nayib Felix and Sarah Chalfie in Jekyll and Hyde.

 

Ms.  Bensussen has the acting troupe tackle the script with a straightforward, earnest approach.  She also imbues the production with some lighthearted moments to leaven out the horror and mayhem.  The director nimbly handles the transformation scenes as she keeps the play running at a lively tempo.

 

 

Nathan Darrow as Dr. Jekyll and Nayib Felix in Jekyll and Hyde.

 

Most of the actors and actresses, in addition to their primary roles, are called upon to fill in with other characters, which they do in a quick and effortless manner.  The cast, with marvelous period outfits by Costume Designer An-lin Dauber, is led by Nathan Darrow as Dr. Jekyll.  He conveys both a highbrow snootiness and the distress of a man in constant turmoil with himself.  Omar Robinson, stolid and reserved as the lawyer Gabriel Utterson, is also the most menacing of the Mr. Hydes.  Nayib Felix shows the most range in the his multiple characters, which include Dr. Carew, the Inspector and, for good measure, an intimidating Mr. Hyde.  Peter Stray gives a rewarding performance as Dr. Lanyon.  Sarah Chalfie’s Elizabeth Jelkes, an invention of Hatcher, delivers an effective portrayal of the doomed woman from the lower class.  She superbly embodies a woman of strength and resolve and is a fitting counterpoint to the upper class gentlemen.   Jennifer Rae Bareilles is satisfying in the more understated role of Mr. Poole.

 

 

 

Dr. Jekyll and Mr. Hyde, playing at Hartford Stage through November 3.  Click here for dates, times, and ticket information.