This past weekend, Torn Ticket II dabbled with mad science inside of Cohen Auditorium with their production of “Jekyll & Hyde.” The musical tells the cautionary tale of scientist Dr. Henry Jekyll and his quest to separate good from evil in man — this ultimately creates the monster, Mr. Hyde, inside himself. As he struggles and fails to keep Hyde in check, the pressures of society and love weigh on him until he finally snaps.
Playing the role of Dr. Jekyll and Mr. Hyde, sophomore Vishal Romero showcases incredible vocal stamina with a duality of voices. Jekyll/Hyde is present in the majority of the songs in the two hour and thirty minute musical, yet Romero’s voice does not falter — even with the growled affect of Mr. Hyde, a feat to be proud of. While he does struggle in moments of intimacy, his strong vocals helped to ground the show. Romero utilized subtle changes, such as altering his speech or physical appearance, to distinguish between the buttoned-up Dr. Jekyll and the animalistic Mr. Hyde.
Alongside Romero are Jekyll/Hyde’s primary love interests: the sweet and headstrong Emma, and the fiery and street smart Lucy, played by first-year Leah Holzer and senior Susie Nania, respectively. With beautiful voices and perfect sonic performances, the two women bring heart to the ballads they share with Romero and each other. This is especially true in the duet “In His Eyes,” with Nania’s rich lower tones complimented by Holzer’s clear higher ones, creating a heartbreakingly beautiful rendition.
Outside of the love triangle, the supporting cast of characters stands strong, with complex choices and compelling characterization aplenty. This was best on display in the number “Board of Governors,” where Jekyll makes his plea to the board of St. Jude’s Hospital. Despite the board members only having a few lines each, the actors created distinct characters, all oozing with snobbish sensibilities against Jekyll.
However, despite the strength of the cast, the production made some decisions that didn’t quite land. As noted by director Maris Cathcart in the Director’s Note, she wanted to highlight how the characters of Lucy and Emma parallel Jekyll and Hyde through their subversion of societal expectations. However, this decision did not read nor make sense, considering how the musical does not value women. The musical does not pass the Bechdel test, as Lucy and Emma merely exist to be love interests and little beyond that. They only sing about their love for Jekyll/Hyde and have no personality traits outside of being virginal or a brothel performer. Their characters align with the “Madonna-whore” dichotomy that does not lend itself to female empowerment.
Further evidence that the musical itself does not value women is the deaths of two female characters, both done in agonizing, brutal ways. Hyde kills his male victims in quick succession, with a neck snap, while Lady Beaconsfield (Alexandra Fabbri) is slowly strangled to death and Lucy bleeds out in an agonizingly long fashion, while Hyde berates both. It is a strange choice to take such book material and try to find empowerment within it while neglecting to capitalize on the larger, more apparent themes. Regardless of directorial choices, such attempts to rewrite the story fall flat when its source material cannot act as a foundation.
Additionally, the show is bloated with its songs. It is unable to decide if it wants to be a rock opera or a straightforward musical, resting in an unpleasant middle. Many of the songs hit the same musical beats and melodies, and oftentimes, the audience is left wondering if dialogue could have replaced the music. The balance of the pit was also off, creating an odd relationship with the singers and the instrumentation.
Furthermore, the strange costumes varied from period-appropriate coats and skirts to leather jackets and women’s dress pants. The mix-matched style created a disjointed world, distracting from the show itself.
The choreography also fell flat, as the majority of it consisted of the same singular dance move with actors moving back and forth in a line across the stage, creating uninteresting visuals. The numbers that include more choreography, like a dance between Jekyll and his fiancee, Emma, or the introduction to the seedy brothel, the Red Rat, do not fare much better, as the movement is pedestrian. This fell even more flat as the actors themselves seemed to not be into the movements they went through.
Despite these fallbacks, the show as a whole was a delight to watch. The large ensemble energized the show and created a solid contrast against the slower ballads of the musical. For example, the Act 2 opener, “Murder, Murder” was a clear highlight of the show. The staging was unique and interesting, as it used umbrellas to create new formation patterns. The cast was always moving into new positions, which was fitting for a number about the frenzy of public opinion in the wake of Hyde’s murders. The cast delivered on the complex harmonies, creating a full sonic experience for all of Cohen. The quick succession of murders was well done and hilarious, with the audience never being sure as to how Hyde would kill each of the board members. The number also featured many soloists, allowing for more talent to be heard by the audience. The audience was enraptured by the performance, fully buying into the world created by the actors and creative team.
The cast delivered a great rendition of the tragic tale, complete with a large and powerful pit and a backdrop of the London skyline created out of cardboard. For more from Torn Ticket II, check out their workshop musical, “Company,” on April 18 and 19 at 51 Winthrop St.
Correction: A previous version of this article erroneously stated that “Company” would be performed April 19 and 20. The Daily regrets this error.
