The critical reviews for the first revival of Jekyll & Hyde aren’t much nicer than those for the original mounting. Ripping most ferociously into the abismal lyrics, “pea-fog thick” smoke and confused direction by Jeff Calhoun, most critics were impressed by Costantine Maroulis and Deborah Cox, R&B artists who manage to bring moments of nuance and amazing vocal chops to an otherwise overcooked production. The show says: “Take me as I am.” — if you aren’t ready to embrace a campy, scantily-clad, over-amplified, steampunk Jekyll & Hyde, you’ll be much happier watching Cinderella down the street, but bad reviews or no, you can rest assured that Jekkies will line up nightly to take in this latest mounting of one of Wildhorn’s best shows.
NEW YORK TIMES
“Let us give a warm welcome back — or maybe just a shrug, a sigh and a tip of the bowler hat — to the return of Jekyll & Hyde…Mr. Maroulis meets the throat-thrashing challenges of Mr. Wildhorn’s score with aplomb, his high-reaching pop tenor evincing little strain when rising to the piercing climaxes. I was also impressed by Mr. Maroulis’s quietly intense performance as the obsessive Dr. Jekyll…Statuesque and beautiful, Ms. Cox brings a suffering dignity to this cliché in corsets. More important for those who have come to hear a pop diva do what pop divas do best, her dark, lustrous voice does nice justice to her character’s signature song, the power ballad ‘Someone Like You.’… I register no objections to allowing Mr. Maroulis to give his voice a rest by having the evil Hyde appear (via video) as a flame-haloed, glowering devil in a giant mirror, his half of the duet having been prerecorded. If anything, this innovation reduces the campy histrionics of having the same actor engage in a singing duel to the death with himself…Unfortunately there’s no way to digitally airbrush away the hokum that pervades the whole show, like the ample stage smoke puffing away throughout the proceedings, giving a most commendable featured performance as the fabled pea-soupy London fog. The actors portraying the sniveling or snobbish enemies of Dr. Jekyll all perform their chores with flavorsome relish…Mr. Wildhorn’s score is probably his most appealing, as it mixes equal parts Hammer horror, Andrew Lloyd Webber-style pseudo-operatics and adult-contemporary-radio anthems…Do the clichés in the lyrics outnumber the exclamation points, or vice versa?”
“Technically impressive and well sung by its two leads, this revival of the bombastic, ballad-heavy musical would feel right at home in a Vegas casino…To do full justice to the campy excesses of Jekyll & Hyde, this review would most appropriately be delivered in the form of a power ballad. Such overbearing musical numbers permeate this 1997 musical by Frank Wildhorn (music) and Leslie Bricusse (book and lyrics), which previously enjoyed a four year run on Broadway despite critical brickbats. Audiences may also embrace this revival of the turgid tuner based on the classic horror tale by Robert Louis Stevenson despite a likely similar negative reception…Director-choreographer Jeff Calhoun (Newsies) has ratcheted up the show’s gothic elements in his high-intensity staging, featuring extensive projections, a deafening sound design and a Grand Guignol-style presentation. But for all the production’s excesses, it proves decidedly underwhelming, devoid of thrills or genuine emotion…Jekyll & Hyde never immerses us in its classic tragic tale. It’s akin to a well-designed haunted house from which you find yourself eagerly longing to escape.”
“Yes, it is bombastic and overwrought. It’s true that there’s enough smoke to make three Whitesnake videos. OK, it sometimes makes The Phantom of the Opera seem small and staid. But there’s something to cheer about in the revival of Jekyll & Hyde that has rolled into Broadway after a 25-week national tour. It is what it is, and it does that very well. It’s a big, loud rock opera and makes no apologies for itself. Nor should it. If you wanted a subtle musical without stabbings and bondage, what exactly are you doing at Jekyll & Hyde? The new version…takes itself so seriously that it almost veers into camp, but it’s a stunningly beautiful steampunk vision with great costumes, projections and sets. Plus, the three main vocalists who came along to sing these Frank Wildhorn songs will make your ears bleed: Constantine Maroulis, Deborah Cox and Teal Wicks. Who cares if there’s way too much lightening and overacting? These three can deliver, some even while wearing naughty Victorian outfits…Sometimes when watching Jekyll & Hyde there are moments when it seems like what you’re watching is outtakes from ‘This Is Spinal Tap.’ But that’s this show’s charm. You’ll always be of two minds about it, so just give in to the silly side.”
“‘It is the curse of mankind that these polar twins should be constantly struggling.’ The same could be said of the 1997 musical itself, now receiving an overamplified, dry ice-drenched Broadway revival following a national tour: It’s good and — well, not evil, but head-scratchingly, laughably, even painfully bad. And one that you’ll be constantly struggling to sit through…As the titular schizophrenic scientist, American Idol alum Constantine Maroulis — a 2009 Tony nominee for his turn in the ’80s jukebox show Rock of Ages — supplies hair-band-worthy locks and lungs of steel. His ”This Is the Moment” (the 11 o’clock number that comes 45 minutes in) is indeed momentous — a triumph of vocal pyrotechnics over clichéd phrases, misaccented lyrics, and throat-testing key changes. He also supplies an accent that travels the whole of the United Kingdom…Cox — as Lucy, the hooker with the heart of gold and bustier of steel — is quite terrific throughout. She even manages to make that ubiquitous cabaret tune/power ballad ”A New Life” audible over the stadium-level orchestrations. Oh yes, the tunes: Wildhorn has written some darn good ones. And they’ll get lodged in your head so firmly that you’ll need ”It’s a Small World” to clear them out. But, oh, the lyrics! Example: ”You’ve not heard/A single word I’ve said/My fear is he’s in over his head!”…Perhaps that’s why the music is amplified to eardrum-splitting levels! But there are so many puzzlements in this production, which is both over- and under-directed…Calhoun came up with a good idea — which then went terribly, terribly wrong. It is, I think, the curse of Jekyll & Hyde. C-”