Displaying items by tag: Robert Louis Stevenson

Kokandy Productions’ Jekyll & Hyde, now presented by Broadway In Chicago at the Broadway Playhouse, arrives with the momentum of a bona fide Chicago phenomenon. After its run at Chopin Theatre was extended again and again - an almost unheard of feat for an intimate, homegrown musical - the show has now been picked up for a full commercial engagement, marking a major leap for the company and a testament to the production’s electric word of mouth. It is worth noting just how rare this is: Broadway In Chicago almost never transfers storefront productions, making this pickup one of the most significant Chicago theatre success stories in recent memory. Conceived for the stage by Steve Cuden and Frank Wildhorn, this staging proves how a storefront success can scale beautifully without losing its bite.

This reimagined take on The Strange Case of Dr. Jekyll and Mr. Hyde, drawn from Robert Louis Stevenson’s classic story, uses Leslie Bricusse’s book and lyrics to follow Dr. Jekyll, a brilliant yet splintering scientist whose compassion fuels his most dangerous ideas. He turns to self‑improvement experiments - attempting to isolate and remove the darker impulses that plague human behavior. Only after the town council votes down his proposal to move forward does Jekyll test his theories on himself, unleashing a violent alter ego - Mr. Hyde - that refuses to stay contained and seeks revenge on those who dismissed his ideas as reckless.

While Jekyll’s experiments drive the plot, the production grounds his unraveling in two sharply drawn relationships: his earnest, hopeful romance with Emma and his complicated, magnetic connection with Lucy. Emma represents the future he’s desperate to protect, while Lucy embodies the vulnerability and desire he can’t fully control. Together, they give the story its emotional spine, showing how Jekyll’s transformation fractures not just his identity, but the lives of the women who care for him.

Kokandy dives into the duality with sharp humor, vivid theatricality, and a pulsing score that turns the transformation into both a spectacle and a psychological spiral. As Jekyll’s world cracks - friends endangered, morality blurred, identity slipping - the production keeps the tension taut, balancing gothic thrills with a surprisingly human core.

(center) David Moreland and the cast of Kokandy Productions’ production of Jekyll & Hyde.

What makes this staging stand out is its inventiveness: clever staging, bold physicality, and a cast that commits fully to the grotesque and the gorgeous – and, wow, can they sing. It’s no surprise audiences kept returning at Chopin, pushing the run far past its original closing date. That groundswell of audience demand is precisely what caught Broadway In Chicago’s attention - a level of traction strong enough to propel a storefront musical into a full commercial engagement. Seeing it now elevated to the Broadway Playhouse feels like the rare occasion when Chicago’s storefront originality gets the larger platform it deserves. In fact, upon entering, guests are handed stickers to mark how many times they’ve seen the show. Whether it’s their first visit or their seventh - the highest number I spotted - theatergoers wear it proudly, a small but telling sign of the cult‑like enthusiasm surrounding this production.

Directed by Producing Artistic Director Derek Van Barham, this production thrives on a razor‑sharp sense of style and drive. Van Barham shapes Jekyll & Hyde with the confidence of someone who knows exactly how to blend horror and heart into one seamless theatrical rhythm. A kinetic drive and deft wit run through the score thanks to Nick Sula’s music direction, ensuring crisp transitions and character‑focused vocal work. With a rare 15‑piece live orchestra on stage, the production’s musical power hits with a fullness and immediacy that elevates every passage. Brenda Didier’s choreography is the secret weapon — precise, playful, and radiating personality, it turns the show’s physicality into storytelling and amplifies the divide at the center of Jekyll’s collapse.

Kokandy’s ensemble fires on all cylinders, creating a production that feels both wickedly fun and sharply realized. David Moreland anchors the show with a riveting, shape‑shifting performance as Dr. Henry Jekyll and Mr. Edward Hyde, his vocal work and physical transformations giving the story its ferocious pulse. Moreland delivers a performance of remarkable physical and emotional intensity, one that stands out among the strongest I’ve seen. With visceral depth and vocal heat, Ava Lane Stovall shapes Lucy Harris into a woman suspended between danger and desire, her performance threading vulnerability through every moment of volatility. She makes Lucy’s internal tug of war feel immediate, giving the role a current that’s both seductive and unsettling. Meanwhile, Emily McCormick’s Emma Carew delivers a beautifully grounded counterbalance, her warm, expressive songs reinforcing the production’s moral center and offering the steadiness Jekyll’s world so desperately lacks.

(center) Ava Lane Stovall with (left to right) Quinn Kelch and Ismael Garcia and (below) Quinn Simmons in Kokandy Productions’ production of Jekyll & Hyde.

As Simon Stride and Spider, Quinn Kech moves effortlessly between clipped propriety and feral swagger, pairing sharp character work with vocals that cut cleanly through the score. A steady moral throughline comes through in Kevin Webb’s Gabriel John Utterson, his warm baritone and grounded presence giving the story its emotional ballast. Nathan Calaranan brings a dignified, resonant authority to Sir Danvers Carew, shaping each turn with clarity and restraint. Around them, the ensemble meets the material with full‑throated commitment - singing with power, acting with specificity, and charging every scene with the kind of collective intensity that makes this production feel larger than its footprint. Led by Jeff Award winners Moreland, Stovall, and McCormick, the ensemble’s collective impact makes this Dr. Jekyll & Mr. Hyde feel vividly, thrillingly alive. The extended applause throughout the night were frequent and fully deserved.

The reimagined score is one of the production’s greatest triumphs, built on Frank Wildhorn’s music, yet reshaped into something leaner, sharper, and far more theatrical. Kim Scharnberg’s orchestrations give the music its dark, muscular edge, while Jason Howland’s arrangements sharpen its modern undercurrent. The orchestrations feel slyly contemporary and richly atmospheric, giving the story a sonic identity that matches Kokandy’s confident staging. Sula ensures every number lands with intention, whether it’s a brooding solo that tightens like a vice or an explosive ensemble sequence that floods the stage with adrenaline. And the vocal performances? They’re extraordinary – out of this world, presented with a clarity and force that elevate every musical moment.

The set evokes the grit and pressure of 1880s London without ever changing, a circular playing space with elevated risers that let the cast surround the action and heighten every moment of tension. Scenic designer Sotirios Livaditis, U.S.A., builds a world that’s intentionally fixed yet remarkably flexible, giving the ensemble multiple levels and angles to push the story forward. G. “Max” Maxin IV’s lighting and Matt Reich’s sound design sharpen that sense of immersion, shaping mood, focus, and dramatic impact from scene to scene. This talented design team gives us a unified environment that feels alive in its stillness - a single space that transforms through performance rather than mechanics.

Jekyll & Hyde comes highly recommended, not only for its inventive reworking but for the sheer theatrical command Kokandy brings to the Broadway Playhouse stage. Presented by Broadway In Chicago, the production (already extended) runs through November 8, 2026 at the Broadway Playhouse at Water Tower Place, with a runtime of 2 hours and 35 minutes including an intermission. It’s a bold, stylish, and wildly entertaining take on a classic tale - one that proves Kokandy’s storefront artistry can thrive beautifully on a commercial stage. I walked away from this production genuinely amazed, struck by how fully Kokandy has transformed a familiar title into something fresh, fearless, and alive. It’s a milestone not just for Kokandy, but for Chicago theatre itself - a reminder that the city’s most daring work can rise all the way to the downtown marquee.

https://www.broadwayinchicago.com/shows/jekyll-hyde/

Brightside Theatre's latest production, Jekyll And Hyde In Concert is a truly mesmerizing experience. And if you are a Chicago resident like myself, this theatrical performance is well worth the not-so-long trek to the burbs. The musicians and the impressive array of talented singers delivered a performance that seized my attention from the very start and held me spellbound throughout. With cozy table seating on the floor and traditional theater seating in the rear, there isn't a bad spot in the house. The acoustics are superb, and the singers frequently stroll through the audience, creating an immersive and intimate experience.

Jekyll and Hyde In Concert rejuvenates the eerie narrative of The Strange Case of Dr. Jekyll and Mr. Hyde by Robert Louis Stevenson. This musical retelling masterfully brings the enthralling story to life on stage, showcasing the complexity of human nature through riveting songs and dynamic performances. The plot centers on the esteemed Dr. Henry Jekyll, whose attempt to distinguish the good from the evil within himself results in the birth of the malevolent Edward Hyde. As Hyde's horrifying deeds escalate uncontrollably, Jekyll battles with the monster he has unleashed, culminating in a heart-wrenching and inevitable end. The concert format accentuates the stirring score, featuring unforgettable pieces that illuminate the internal and external struggles of the characters. With its powerful melodies and expressive lyrics, the audience is drawn into the mesmerizing and dark world of Jekyll and Hyde, promising an unforgettable theatrical journey.

Picture a theater abuzz with excitement as the audience prepares for an "on book" concert performance of Jekyll And Hyde. The performers, each clutching their scripts and scores, take their places at music stands arranged across the stage. Behind them, a full orchestra sits poised, instruments at the ready. Magical.

As the orchestra dives into the stirring opening notes, the performers join in, bringing to life characters such as Dr. Henry Jekyll, Lucy Harris, Emma Carew, and Sir Danvers Carew with their powerful vocals and deep emotion. The "on book" format adds an intimate, unpolished charm to the performance, allowing the audience to focus on the music and the performers' interpretations. Throughout the concert, the orchestra's lush harmonies and soaring crescendos amplify the drama and intensity of the story, creating a gripping and immersive experience. This fusion of live orchestration and on-book singing offers a distinct and unforgettable rendition of the cherished musical.

Gerald Kelel masterfully leads this concert, seamlessly transitioning between the roles of Dr. Henry Jekyll and Edward Hyde, executing each note with precision and authority. Rachel Carreras as Lucy Harris and Julie Ann Kornak as Emma Carew also deliver standout performances, showcasing their impressive vocal range. Veteran stage actor Stan Austin shines as Sir Danvers Carew, bringing intensity and robust vocals to the role. While the entire cast is brimming with talent, both Molly Bremer and Sean Rhead each have their moments to highlight their remarkable vocal prowess. This is just a brilliant piece of theatre in concert form that was such a pleasure to watch.

This particular performance of Jekyll And Hyde In Concert is a highlight of Brightside Theatre’s Concert Series, following the company’s spectacular run of Dracula. Artistic Director Jeffrey Cass has skillfully curated the upcoming season, featuring Beetlejuice Jr., Pippin, and A Midsummer Night’s Dream, promising an exhilarating 2025.

Brightside Theatre, nestled in the heart of Naperville's historic downtown district, is a professional non-profit theatre company dedicated to enlightening, educating, and entertaining audiences. Established in 2011, it holds the distinction of being the only professional non-profit theatre in Naperville. Brightside Theatre's diverse offerings include comedies, inspirational stories from around the globe, mainstage productions, a musical theatre concert series, and a free Summer in the Parks Series. They also provide educational programs and summer camps for young performers. Recognized with multiple awards, Brightside Theatre has been named the Best Entertainment Venue by Naperville Magazine for five consecutive years.

RECOMMENDED!

Jekyll And Hyde In Concert

About: Conceived for the stage by Frank Wildhorn and Steve Cuden

Music by Frank Wildhorn, Book and Lyrics by Leslie Bricusse

Directed by De Haddad

Musical Direction by Phil Videckis

2 hours 15 minutes including intermission

Where: Madden Theatre, North Central College, 171 Chicago Avenue, Naperville, IL

When: Fridays and Saturdays at 7:30 pm and Sundays at 2:00 pm from January 17 through 26, 2025.

Tickets: $37 for Adults and $32 for Seniors and Students

Show and Theatre Information: http://www.brightsidetheatre.com/ 

I found DR. JEKYLL AND MR. HYDE to be weird.

Well, it’s supposed to be weird, right? It’s a weird and spooky story about Dr. Henry Jekyll, a respectable, conventional Victorian physician, liberating his dark side: a persona named Edward Hyde, whose cruel and amoral exploits prove ruinous. Yeah. Weird. Perfect for the shuddersome All Hallows Eve season.

Robert Louis Stevenson wrote DR. JEKYLL AND MR. HYDE as a novella in 1886; expanded to full-novel length in 1891.  There have been hundreds of stage and film adaptations of the tale, from its first stage presentation in 1887 to films starring John Barrymore (1920), Spencer Tracy (1941), Boris Karloff (1953), and many others.

Here is a new adaptation, written by Michael Dalberg and produced by Idle Muse Theatre Company, in which the issues of class and gender, intimacy and violence that clash in the original story are amplified. Dr. Jekyll and Sister Hyde ran in 1971 as a B-movie; Dalberg turns this around by casting a woman, Brandi Jiminez Lee (sh/h) as Dr. Henry Jekyll. Choosing tall dark & handsome Jack Sharkey (h/h) as Mr. Edward Hyde is significant as well. Mr. Hyde is a thoroughly loathsome character, and virtually all adaptations exhibit a face and physique to match. Sharkey’s Hyde, however, is cultured and sensual, an Edward Hyde that I found by no means repugnant – at first, any road. Which is not to say he’s a good guy! just a really slick one.

Stevenson wrote JEKYLL & HYDE to explore the dichotomy between our public and private selves, even more relevant in Victorian times than today. In the play, the dyad extends beyond Jekyll vs. Hyde.  The story is told by Jekyll’s solicitor (and admirer) Gabriel John Utterson, masterfully played by Shane Richlen (h/h), and the contrast between this worthy Victorian gentleman and the unconventional Henri Jekyll is as sharp as that between Jekyll and Hyde – in fact, I found myself scratching my head about his devotion: hie thee to Al-Anon, John Gabriel! 

Other characters mirror the good/evil dichotomy as well. Dr. Hastie Lanyon, played by Joel Thompson (h/h), friend to both Utterson and Jekyll, is the first to learn that Dr. Jekyll and Mr. Hyde are one and the same, a grim discovery that haunts Lanyon to his death. Richard Enfield (Ian Saderholm, h/h) is another ideal Victorian gentleman; he is the first to witness Hyde committing a violent crime, while Sir Danvers Carew, played by understudy Ross Compton (h/h), is the first person we actually see Hyde slay. The assault is also witnessed by the Maid (Hanna Beth Mitchell, sh/h), an intermittent character used for comic relief. One final character mismatches Hyde: Dr. Jekyll’s butler Poole (Ross Compton), whose devotion to his master starkly contrasts with Hyde’s treachery.

So, why am I calling this production weird? To begin with, the contradiction seems to extend into the plot. I had real trouble following all the aspects of the story: murder and virtue, rape and seduction, revenge and passion, with snippets of addiction, past sexual molestation, homosexuality, and incongruous heterosexuality tossed in haphazardly.  At the interval I confessed my confusion to my companion, an ardent fan of Stevenson’s novel, and was amazed (and relieved) to learn she was equally befuddled.

And there was a large group seated in front of us who laughed extravagantly throughout (including at things I saw no humor in) – clearly they did not share our misgivings. We concluded they were friends of the cast, devoted and true, and god love ‘em for it. But they were another weird thing.

I was dismayed by the missed opportunities. For example, why, when evil Hyde was a white man and good Jekyll a Black woman, was there absolutely no mention of race? One of the reasons I was interested in this adaptation was the casting of a Black woman in the role of Jekyll, but that didn’t seem at all relevant to the play. I notice this particularly since I’ve seen Chicago theatre come back from covid with much attention on issues of racial and gender disparity, yet this production made no use of multiple openings. And, though sexual abuse is frequently alluded to, its import as a motive is relegated to a throw-away line at the end. I’d like to have seen that issue fleshed out far more. 

The production as a whole was discombobulating, beginning with the script and continuing through its interpretation by director Morgan Manasa (sh/h), with artistic director Evan Jackson (th/th), dramaturges Elizabeth MacDougald (th/th) and Tristan Brandon (th/th) [also props designer and literary manager]. There were glaring anachronisms—the Maid smoking on the street in 1885? And while Elizabeth Blackwell obtained her MD in 1849, Elizabeth Anderson didn’t become the first British female physician until 1865, yet the issue of feminism and suffrage is decidedly underplayed. And I question several choices (rock music between scenes?) made by music & sound director L.J. Luthringer (h/h), and lighting & projection designer Laura Wiley (th/th). 

I wish Jessie Gowens’ (sh/h) costumes had done more to distinguish the various Victorian Gentlemen. Carrie Hardin (sh/h), speech and dialect coach, allowed traces of Yorkshire to slip into London. Fight choreographer Libby Beyreis (sh/h) suffered unfairly by comparison to the Babes with Blades’ production of Richard III, which I saw just a few days earlier. I found the seduction scenes unconvincing, but intimacy designers Samantha Kaufman (sh/h) and Courtney Abbott (sh/h) had quite a challenge with Hyde’s despoilment of Jekyll – though I did love Hyde’s line, “Just think of it as masturbation.” In fact, I was definitely intrigued by the casting of Jekyll and Hyde as two completely different characters.

Stage managers Becky Warner (th/th) and Beth Bruins (sh/h), with scenic designer Stina Taylor (sh/h), created a set that required frequent rearrangement of all the furniture, which I found more disruptive than expressive. The remainder of the creative team are Kati Lechner (th/th), covid compliance officer, production manager Shellie DiSalvo (th/th), treasurer Mara Kovacevic (sh/h) and Gina Marie Hoskins (sh/h) in marketing.

Please remember that my description of the play as ‘weird’ is just that: my description. The cast was superb, and did an excellent job, particularly co-stars Brandi Jiminez Lee, Jack Sharkey, and Shane Richlen. And I’m always pleased when an understudy (Ross Compton) steps forward to give a fine performance.

Shiver me timbers! Child actor John Francis Babbo delivers a knockout performance to lead, what can be called nothing less than a stellar cast, in Lookingglass Theatre’s world premiere production of “Treasure Island”. Based on the classic children’s novel written by Robert Louis Stevenson in 1883, Mary Zimmerman vividly adapts and directs this famous tale to encompass all the excitement and high seas adventure originally created by its original author.

In one of the most famous pirate tales known to date (the one that made Long John Silver a household name), we embark on a journey with young Jim Hawkins (Babbo) whose heroics and level headedness make him one of the most mature characters in the story despite a handful of motley swashbucklers and a crew of ship mates in search of hidden treasure.

For those who might be unfamiliar, the story takes place somewhere in the mid-1700s, when Hawkins is approached by Billy Bones, a drunken pirate wonderfully played by Christopher Donahue, while working at the inn with his mother. Bones soon offers Hawkins money to keep his eyes peeled for a one-legged pirate (guess who?), but not long after dies leaving behind a treasure map. After Hawkins delivers the map to trustworthy Squire Trelawney, a crew is assembled led by the fearless Captain Smollett aboard the reliable sea vessel, the Hispaniola. However, Long John Silver and a degenerate band of his faithful have infiltrated such crew and the excitement really begins as they head out to see in search of Treasure Island.  

Walking into the theatre, the audience is met with a stunning set, thanks to scenic designer Todd Rosenthal. Centered within the seating area sits a large ship with all the fixings to send one to the appropriate mindset before the play even begins. As the story progresses, when called for, the ship even rocks back and forth, so be sure to take your Dramamine ahead of time to avoid sea sickness (but not really).

Outside of playing his role as cabin boy Jim Hawkins, fifteen-year-old Babbo also provides an emotionally charged narrative while Lawrence E. Distasi delivers a colorful and highly fervent performance as the Scourge of the Seven Seas, Long John Silver, our favorite rapscallion. Philip R. Smith also gives us a noteworthy enactment of Captain Smollett, adding a good deal of humor to role of the duty bound skipper.

There are plenty of laughs and suspenseful moments amidst this adventurous story that contains its fair share of hornswoggling, picaroons and scallywags. Lookingglass decided to stick with a high seas classic after their successful run of “Moby Dick” that featured a brilliant performance by the same Christopher Donahue, and they could be in line for yet another Jeff Award. Perfect for the entire family, “Treasure Island” is engaging, visually spectacular, funny and exciting.

Arr! You’re not going to want to let this thoroughly enjoyable production slip by. “Treasure Island” is being performed at Lookingglass Theatre through January 31^st.

For tickets and more show information, visit www.lookingglasstheatre.org.