Tuesday, April 01, 2003

BY BARBARA TRAININ BLANK
For The Patriot-News

While man's fascination with the warring forces of good and evil in his soul has existed as long as he has, perhaps no literary work encapsulates the struggle as eloquently as Robert Louis Stevenson's "The Strange Case of Dr. Jekyll and Mr. Hyde."

Who doesn't know the tale of the doctor who tries to separate the two -- to his peril?

Originally written as a short story in 1886, "Jekyll & Hyde" also has been turned into a host of serious movies as well as parodies. Finally, as befits an age of operatic musicals, often with dark themes, it became a Broadway show in 1995.

There is indeed little room for anything but bitter humor and no real sense of redemption in the show. But there is much to compel you in Theatre Harrisburg's well-acted production, directed by Thomas G. Hostetter with his usual flair and balance.

This show demands an almost-superhuman effort by the lead, who performs both title roles. Luckily, Richard W. Stevens III is up to the task, vocally and dramatically. His ability to transform himself -- with hairstyle, facial expression, and voice timbre, rather than makeup -- from Jekyll to Hyde and back is remarkable.

"Confrontation," a song in which he creates the illusion of the two men facing each other, is awesome.

Lighting, too, is a key factor in the character changes. Here it is used brilliantly by designer Scott Summers. His effects also evoke an 1880s London, with the assistance of Paul R. Foltz's costumes and the erector-set look of the scenic design by Robert Klingelhoefer.

At first I was skeptical Debbie Voight-Smith could be a believable Lucy, the prostitute love interest of both Jekyll and Hyde, because she didn't quite fit the stereotypical physical type. I was happily proved wrong. She was terrific at expressing the character's vulnerability, And her acting ability and arresting voice would win anyone over.

In her Theatre Harrisburg debut, Jessica McCloskey was weaker vocally. But she was right on target in conveying the ethereal beauty and hopeless devotion of Emma, Jekyll's fiancee.

There are many fine supporting performances -- too numerous to name them all. But among them are Nathan Brant as the arrogant Simon Stride; Rick Anderson as Emma's doting father; and Tamara Lynn Heagy as another prostitute, Nellie.

M. Jon Whitson is deliciously menacing as the Spider, keeper of the Red Rat Tavern. In contrast, Tom Blaisse offers the needed steadiness as John Utterson, Jekyll's friend.

It was hard to hear the lyrics in the ensemble pieces -- possibly because of amplification problems -- and the ensemble singing was a bit uneven. But then, this isn't a show one walks away from humming. (Though "This Is the Moment" has become a favorite theme for cabaret singers and stars of professional ice shows.) Despite vivid musical direction by Marc E. Farrell, the music seems repetitive, and one longs (at least I did) for more dialogue.

But one can't deny the staying power of the story and its theme. And many aspects of this production -- chiefly but not only Stevens' performance -- are hard to forget.