Play It Again: Jekyll and Hyde's "This Is the Moment"

 Play It Again:

Jekyll & Hyde's "This Is the Moment"

For this new series, Jeff has invited me to choose some classic Broadway show tunes and compare versions of these songs from several different cast recordings. Wherever possible, I’ll link to the songs on YouTube, where I listen to most of them myself.

This week I consider four versions of a contemporary classic, the stirring power ballad “This is the Moment” from Frank Wildhorn, Steve Cuden and Leslie Bricusse’s Jekyll & Hyde. Sung by Dr. Jekyll as he prepares to conduct his fateful experiment, the song succeeds in conveying his intense excitement by virtue of Wildhorn’s trademark crescendo-driven music rather than the generic lyrics. (As discussed below, both of these were improved as Jekyll & Hyde was developed from concept album to Broadway show.)

My overall favorite version is marked with two stars (**); one star (*) is used to indicate that a particular version stands out in terms of singing, orchestra, sound, or other miscellaneous qualities. (For the first time, each of these stars goes to a different recording!)

ORIGINAL CONCEPT ALBUM (1990) - YouTube

Jekyll: Colm Wilkinson

*SINGING: This seems like the kind of song that Wilkinson was born to sing, with a steady build from sweet and soft vocals at the start to a classic powerhouse ending. Although I don’t exactly love some of his little eccentricities - like squeezing several vowels into the first syllable of “moment” - he definitely sets a passionate standard that others haven’t quite matched (even if he still sounds exactly like Jean Valjean). 

ORCHESTRA: The arrangement, for the most part, has the feel of an ’80s holdover. Its smooth-jazz-like piano and bass parts, combined with a steady drum beat and string section for support, would feel right at home on a Whitney Houston album. Only at the end, when some brass is added for the musical climax, does it truly feel like musical theater.

SOUND: The sound is good but not great; the balance between vocals and musical accompaniment is fine, but there isn’t much depth to the sound.

MISCELLANEOUS: As might be expected, the song is not quite in its final form on this concept album; the three subsequent versions have notable changes in their lyrics and music, all for the better. 

On the lyrics side, the clumsy phrase “momentous moment” is heard (only in this first version) immediately after the much more agile wordplay of “this is the time/when the momentum and the moment are in rhyme”; the lyricists definitely needed to choose one or the other, and they kept the right one. Another awkward couplet, “this is the hour/when I can open up tomorrow like a flower,” was likewise excised. And the words were just punched up a bit in a few other places; for instance, the third line here, “this is the moment when I know I’m on my way,” became the more precise “when I send all my doubts and demons on their way.”

On the musical side, this version lacks the bridge heard in the subsequent tracks (“for all these years/I’ve faced the world alone…”); instead it has another lyrical variation set to the melody of the chorus. This short bridge, though not particularly interesting on its own, is effective in breaking things up and setting the aural scene for the high-octane climax; without it, we hear the same music too many times in a row and it loses some of its impact.

** “THE COMPLETE WORK” (1994) - YouTube

Jekyll: Anthony Warlow

SINGING: Warlow comes close to matching Wilkinson’s range and power, but in the end (literally and figuratively) falls just a bit short. Actually, Warlow is even more effective in the song’s more tender first verse, where he conveys an almost whispered urgency; it’s only in the final crescendo where Warlow doesn’t quite reach the same heights - but, let’s face facts, that’s the part that most of us care about.

ORCHESTRA: This is still a very easy-listening, pop-influenced arrangement, tinged with a heavily synthesized sound at the beginning of the song. As the song progresses, though, this version does incorporate a more active string section and more assertive brass to enhance the song’s signature build towards the money note.

*SOUND: Quite good, with a more immersive feel and subtle but satisfying stereo effects.

MISCELLANEOUS: The revisions noted above have all been implemented here, and after this there aren’t any major changes in the song’s music or lyrics. These improvements - as well as the much better sound and orchestrations - are the reason I picked this version overall, despite the fact that I slightly preferred Wilkinson’s vocal interpretation.

ORIGINAL BROADWAY CAST (1997) - YouTube

Jekyll: Robert Cuccioli

SINGING: Cuccioli gives a fine Broadway-level performance but is lacking in the kind of personality that can sell a rambling song like this one. Wilkinson, Warlow, and even (to a lesser extent) Maroulis have a distinctive vocal style that one can latch onto; Cuccioli’s competent, vibrato-heavy delivery would be a good fit for a traditional romantic lead but doesn’t quite work for this song.

*ORCHESTRA: The orchestration here is very ’90s Broadway, perhaps with a tinge of Disney mixed in, and I mean all that as a compliment. There are now lovely horn/woodwind touches to fill the gaps between sung phrases from the beginning, as well as dramatic transitions enunciated by tympani and low strings. The brassy climax is particularly exhilarating, accentuating the little dissonances between the final chord progression and the singer’s held note. 

SOUND: I’d say this sounds just about average for a Broadway cast album from the past few decades - well-balanced but not particularly crisp or sparkling.

MISCELLANEOUS: This version definitely feels, for the first time, like a song from a musical rather than a pop album - something that can drive a story forward through the sheer force of the music.

REVIVAL CONCEPT ALBUM (2012) - YouTube

Jekyll: Constantine Maroulis

SINGING: Considering how disappointed I was when I saw the Broadway revival of this show, a production which starred Maroulis and grew out of this recording, I actually think he does a nice job here. He’s probably doing the most acting of any of the four singers, with little vocal touches to convey anguish and excitement. That being said, his voice is simply not in the same league with Wilkinson or Warlow.

ORCHESTRA: There’s a definite return to the piano-driven pop feel of the earliest versions, at least in the first half of the song, but this time it does have a more up-to-date feel. In the more orchestral second half, I enjoy the leaping horn part, as well as the churning strings accompanying the bridge.

SOUND: Pretty good, but the balance is tilted a little too much towards the vocals for my taste; some orchestral details are lost in the louder parts.

*MISCELLANEOUS: This version includes the longest and most interesting instrumental introduction, with majestic brass instruments intoning the song’s signature musical theme above shimmering strings.

"Hit Songs" From Broadway Misfires: Wildhorn Ballads

Last month, we started a new series - "Hit Songs" From Broadway Misfires - where we pick out songs that we love from scores of Broadway shows that didn't quite make it. For every "Memory," there's an equally wonderful "Someone Else's Story." This time around, we chose three pretty amazing ballads from three pretty amazing scores by Frank Wildhorn. The composer has yet to have a bonafide hit show (by definition at least), but his scores seem relatively popular. Personally, I enjoy his music.

"Hit Songs" From Broadway Misfires:

Wildhorn Ballads

"Believe" from The Scarlet Pimpernel

Music: Frank Wildhorn   

Lyrics: Nan Knighton

Sung by Percy (Douglas Sills) and Marguerite (Christine Andreas)

Favorite Lyrics:

As roses bend through breeze, unbend me
As the rose bends to the sun
And in the darkness, please defend me
Two in love become as one
As waves lean on the sea, my love come lean on me
I do believe in you

The lush orchestrations paired with the soaring vocals of Sills and Andreas fill me with emotion. You can feel their romantic chemistry just from the audio. A wonderful duet, and one of my favorite songs in a score filled with favorite songs.

"How 'Bout a Dance?" from Bonnie & Clyde

Music: Frank Wildhorn   

Lyrics: Don Black

Sung by Bonnie (Laura Osnes)

Favorite Lyrics:

How 'bout a dance?

Let's make a start

Music like this can really throw ya

You'll lose the blues

And you may lose your heart

The bluesy, honky tonk drawl of the song, coupled with Osnes' aching delivery makes this one of my favorite Broadway songs of the 21st century so far. As a stand alone song, it works without any show context - I imagine any number of solo acts - female or male. But within the show, it reveals a lot about the conniving nature of Bonnie, and also an undercurrent of vulnerability, key to feeling any empathy/sympathy for a woman who does truly horrifying things. 

"Someone Like You" from  Jekyll & Hyde

Music: Frank Wildhorn   

Lyrics: Leslie Bricusse

Sung by Lucy (Linda Eder)

Favorite Lyrics:

I peer through windows
Watch life go by
Dream of tomorrow
And wonder why

The past is holding me
Keeping life at bay
I wander lost in yesterday
Wanting to fly
But scared to try

But if someone like you
Found someone like me
Then suddenly
Nothing would ever be the same
My heart would take wing
And I'd feel so alive!
If someone like you
Found me!

In a way, this song is a "hit," having been recorded many times, and being a staple in cabaret acts in the late 90s and early 2000s. Still, it deserves the recognition. Even if the show isn't your cup of tea (admittedly, it isn't a favorite of mine), this is one of a few songs in the score that is a real gem. Today, its lyrics and sentiments are a Hallmark-style cliche, true. But the music so perfectly matches the loneliness and hopes of lyrics. It's a lovely song.

In a future article, we'll take a look at a few of Frank Wildhorn's "big" numbers. And, as always, feel free to write in suggestions for future similar posts.

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REVIEW: Jekyll and Hyde

Review of the Saturday, April 27 evening performance at the Marquis Theatre in New York City, New York.  Starring Constantine Maroulis, Deborah Cox and Teal Wicks. Direction and choreography by Jeff Calhoun.  2 hours, 25 minutes including intermission.

Grade: F

With Constantine Maroulis in the title roles of Jekyll and Hyde you really do get a "twofer" your money.  I wish I could say it is two exciting performances as Dr. Jekyll and Mr. Hyde.  I wish I could say he is scary and sexy, evil and good, provocative and riveting.  But I have to be honest the "twofer" is boring and boorish. The "actor" in him is variations on one note sad-sad and sad-grumpy pants; the "singer" in him relies on American Idol parlor tricks at the expense of character.  And while I bring up that whole Idol thing, let me just call him out on something that drives me nuts when people who have no business on Broadway make it without earning it.  Constantine, you don't get to do that whole "slump-shouldered-crooked-bent-head-shuffle-to-the-front-I'm-so-humbled-by-all-the-applause-aw-shucks" shtick.  No one believes it, especially from someone whose fame came from the applause and phone calls of the very same audience.  Bad form. AND, as Randy Jackson would likely say, "Dawg.  You were pitchy.  Many times."  And maybe Simon might have said, "Style over substance.  I'm not feeling it."  You see, for all of the "vocal pyrotechnics" of every last number, it is all at the expense of character or emotion of the moment.  In fact, "This Is the Moment," one of the show's most famous songs, sounded pretty much the same as every other moment in the show: loud, overblown and absent of genuine feeling.

Dr. Henry Jekyll

Edward Hyde

Not that Maroulis is alone in this.  Deborah Cox, a far superior vocalist to her leading man, still managed to make every number of hers sound like all the others.  But at least I can say she appears to be trying.  That said, she's either too vulnerable or too tough, but never a mixture of the two, or even a variation of emotional level.  Of course, she is fighting an uphill battle.  Everything is working against her.  She's either fighting off the dirty hair and monotone growl of Maroulis as Hyde (not to mention an uncomfortable set of sequences involving light bondage), or the icky gross advances of her boss, Spyder (David Benoit).  A singer more than actress, she should have been given more direction, too.  She meanders around the stage with an air of not being sure where, from scene-to-scene, she's supposed to be, and no one told her what to do with her arms, either.  I have no doubt she could have been a kick-ass Lucy, but no one, it seems, has tried to help her.

Lucy (left), Emma (right) with her father

And did they cut a lot of Emma's role in this version?  I seem to recall a lot more of Jekyll's fiance in the original than we got here.  Of course, to be completely honest, Teal Wicks, as Emma, might have been on more than I realized.  In what I think was her first scene - the engagement party - I didn't realize she was Emma until she finally spoke to her betrothed.  Until then, she clung to what turned out to be her father, with a posture and deepened voice that came across more like a dowager from Downton Abbey than as a young socialite in love.  She can sing, but I've heard several others sing better and with more passion.  Again, this may be a function of the direction she has been given.  It is clear, even from the show's advertising, that this third member of a love triangle isn't all that important to the way this story will be told.  Instead of giving equal weight to the Jekyll/Emma pairing and the Hyde/Lucy pairing, Emma is footnote.  This is sad because the parallels between the opposite nature of the two women really could heighten the duality of the two men these women deal with.

A brief note or two about the "villains."  Even considering the inexcusable lack of plot and character development in Leslie Bricusse's laughable book, I felt absolutely nothing for these people, which is crucial for any villain, but even more so here, where their deaths are germane to a good portion of the plot.  They aren't even developed enough to call stereotypes, or interesting enough to look forward to their getting their due.  One of them, though, did do one thing for me.  Blair Ross does give the single worst performance of the entire 2012 - 2013 season.  Bar none - including the entire casts of Scandalous and Motown.  Side note - the bad guy in the fez suffered no more than a broken knee at the hands of Hyde.  In fact, he manages to crawl off the scene on his own.  And yet he turns up dead, anyway.  Really?

The Villains

It is hard to imagine that the same guy who put together the jubilant Newsies and the comparatively complex and infinitely more emotional Bonnie and Clyde was responsible for this.  I generally enjoy and definitely respect the work of Jeff Calhoun, but it would seem he didn't do much with this production.  Well, much that makes sense, anyway.  OK, what was with the hospital cronies in their underwear being dressed by their servants. I literally laughed out loud (not that anyone heard me - only my companion Mike was within 10 feet of me in any direction) as this was going on.  I also laughed heartily at the sound effects.  Who knew the being impaled and gutted by a crucifix sounded so squishy?  Then, too, are the oddly distancing moments in Hyde's lab, where a lot of the story and conflict happens.  But it gets lost on the huge Marquis stage, especially with a lack of scenery.  With so little happening, in such a huge space, any intensity gets washed out, and none of it all that interesting.  I am loathe to admit this, but I had to fight to stay awake.  For a horror thriller musical, it was so dull.

The stars and the director aren't helped much by the design team, either.  Crooked LED panels, looking like they might fall over at any second created more potential tension than the scenes they were supporting.  What was set designer Tobin Ost thinking with that odd set for Spyder's nightclub?  I get that the strings were supposed to be spiderweb-like (rim shot here).  But ugly to look at and with no pay off.  And Ost's costumes are uniformly Victorian enough, but also monochromatic for the most part.  In other words, it is boring to look at.  Even Emma's wedding gown was underwhelming.  And what else can I say but that the hookers in this show are the best dressed in Broadway history.  For someone who can barely afford to eat, Lucy dresses like the Queen.  Much has been talked about in regards to Daniel Brodie's projections, particularly when Hyde and Jekyll confront each other.  Well, it actually works.  Well, almost.  Whoever thought it was a good idea to have Hyde disappear in a filmed "Charlie's Angels"-like explosion clearly wasn't thinking it out.  Why didn't the walls explode or even smoulder a little?  Jeff Croiter's lighting may be more notable for its lack of light than actual illumination.  Finally, Ken Travis' overamplification made the show easy to hear, but at the expense of being able to tell who was talking or singing at any given moment.  Were this a rock concert, I'd say "bravo," but it isn't.

Spyder's Web?

Perhaps, much like the recent concept album with the same stars (review HERE), this would have been better as a concert.  And I am all for updating scores - Drood, Pippin and Cinderella have all benefited from just that.  But isn't it telling that a show that closed in 2000 needed to be "brought into the 21st century?"  But they did some updating - now all of the power ballads have been equally amped up so that what once sounded similar is now completely indistinguishable.  And the three numbers that aren't ballads have been reworked to the point that they are unrecognizable.  "Murder, Murder" is now a solemn hymn-like thing.  "Bring On the Men" is so slow in tempo that only senior citizens might become aroused by it.  And the most rousing number, "Facade," is now an odd waltz.  The lyrics, like the tempo, are now sung in groups of three, and so shoehorned into this waltz mode that the meaning of the words is lost completely.  Even some of the ballads have been heinously reworked.  When Jekyll sings his big "I need" number ("I Need to Know" appropriately enough), I had to ask my companion, Mike, if the orchestra was playing the same song Constantine was singing.  I kid you not.

Not only is this revival one of the worst shows of the season, this is also one of the most unnecessary productions ever staged.  For something that looks so slick, the whole thing smacks of not being ready for public consumption.  You'd never know that this was the last stop in a long national tour.  And, Jekkies, spare me your hate emails.  If it were any good, you'd all be there, selling the show out.  And you are staying away in droves.  So maybe I'll get letters of support instead?

(Photos by Chris Bennion)

Jeff
4.237

HOT or NOT: NEW POLL! The Principal Cast and Swings of JEKYLL AND HYDE!!

Well, it seems like just yesterday that we began our quest for the HOTTEST MUSICAL STARS OF THE 2012 - 2013 SEASON.  But at long last, we are at the last qualifying week!  This time, you'll decide if one last Leading Actor, Leading Actress, Featured Actor, Featured Actress and Swing will make it to the finals or not. So who in the principal cast and the swings of Jekyll and Hyde is HOT or NOT?

Be sure to click "DONE" at the bottom of the poll.  

THIS POLL WILL CLOSE ON THURSDAY, MAY 2 AT 7PM!

The Principals and Swings of 

JEKYLL AND HYDE

Head Shots

Lead Actor

Constantine Maroulis

Lead Actress

Deborah Cox

Featured Actress

Teal Wicks

Featured Actor

David Benoit (left) Laird Mackintosh (right)

Featured Actor

Richard White

Swings

Stephen Mitchell Brown (left) Rob Richardson (right)

Swing

Haley Swindal

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COMING MAY 6: THE FINALS!  

VOTE FOR THE HOTTEST MUSICAL STARS OF THE SEASON!

Jeff
4.235

HOT or NOT: 2 Polls! The Male and Female Ensembles of JEKYLL AND HYDE

Well, here we are!  The last musical of the 2012 - 2013 season to get the HOT or NOT treatment!  The show is Jekyll and Hyde, and this week, there are TWO polls - be sure to do both!  You'll be selecting the 2 hottest Female Ensemble Members and 3 hottest Male Ensemble Members to go to the finals of the first annual HOTTEST MUSICAL STARS OF THE SEASON competition!

REMEMBER: There are 2 polls to complete, one for the guys, one for the ladies.  Be sure to scroll down to complete each poll and click on "DONE" when you've completed EACH part.  (You are clicking "DONE" twice.)

THIS POLL WILL CLOSE AT 7PM ON THURSDAY, APRIL 25!

HOT OR NOT: 

THE ENSEMBLE OF JEKYLL AND HYDE

THE MALE ENSEMBLE

(THE POLL FOLLOWS THE HEAD SHOTS)

Jerry Christakos and Brian Gallagher

Sean Jenness and Mel Johnson, Jr.

James Judy and Aaron Ramey

Doug Storm and Jason Wooten

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THE FEMALE ENSEMBLE

(THE POLL FOLLOWS THE HEAD SHOTS)

Dana Costello and Wendy Fox

Ashley Loren and Courtney Markowitz

Emmy Raver-Lampman and Blair Ross

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Jeff
4.228

CONTEST: WIN TICKETS to Jekyll and Hyde

Every man has two sides to his nature.  So Jekyll and Hyde tells us in song and dance.  The popular musical is on its way back to Broadway in a new revival co-starring Constantine Maroulis and Deborah Cox.  And JK's TheatreScene has your chance to win tickets to see the show BEFORE it officially opens at the Marquis Theatre!

Since this isn't your typical show, this won't be your typical contest, either!  When the original production ran in the late 90's, Twitter and Instagram didn't exist.  But since they do now, to win these preview tickets, you'll have to use BOTH!  Here's what you have to do:

STEP 1:

• Take a photo of yourself and give it the "JEKYLL AND HYDE TREATMENT"!  That is, show your inner "Jekyll" AND inner "Hyde" in the same pcture. TO SEE AN EXAMPLE, CLICK HERE.

STEP 2:

• Post that picture to Instagram.

STEP 3: 

• Tweet a link to that Instagram pic, using this statement AND hashtag: (Copy and paste it if you like!)  You may Tweet your entry up to 5 times by adding numbers 2 -5 BEFORE the above statement.

I am Hyde-ing myself to win tickets to @JekyllMusical from @JKsTheatreScene! #HydeYourself

STEP 4: 

• Post your entry (entries) by 7PM on Wednesday, April 3rd.

THE WINNER will be selected at random from all eligible entries.  GOOD LUCK!

THE FINE PRINT:

• If you enter more than 5 times, ALL of your entries will be disqualified.  
• Any entries that do not follow the rules as stated above will also be disqualified.
• The ticket voucher will be good for tickets to preview performances of the show between April 5 - 16.  SOME BLACK OUT DATES MAY APPLY.
• JK's TheatreScene is NOT responsible for lost entries, for pictures improperly posted to Instagram or Twitter, for the seats assigned to the winner, nor for the absence of any cast members at the performance you attend.

DON'T FORGET TO COMPLETE ALL 3 PARTS OF THIS WEEK'S "HOT OR NOT" POLL

MOTOWN: THE MUSICAL - THE ENSEMBLE!

Jeff
4.208