Here in my little world we go to the theatre. We drink. We smoke. We eat. We take cabs and subways. We go to museums. The list is endless. In my world I review everything that happens to me on the day that I go to the theatre. Nothing is sacrosanct and everything is subject to my contempt or acclamation. Give me the hook or the ovation but remember it's my world and you're just living in it! Welcome to my world...

Since I was a little under the weather this week, I didn't go to the theatre. But don't worry. Instead, I thought that this week we'd take a step back in time. Let's call it, "Christina's World, The Lost Episode." Relying on my notes from last March I've decided to take you all kicking and screaming to...

On the first day of previews I arrived in line at the box office at 9 a.m. to take advantage of the $20 rush seats. Eighteen tickets are available. I was number nineteen.

To insure this would not happen to me again, I decided to attack this situation bright and early the following week. On Thursday the 27th of March, armed with a doughnut, coffee, pack of cigarettes, and forty bucks I jumped in a cab at 7:30 a.m. At 7:45 I arrived at the Plymouth Theatre, thrilled and in deep r.e.m. sleep. Like a damn clown I stood out there alone for over an hour. Around 8:55 some people began arriving. Thank God! Time flew quickly as we shared our theatre stories, and before I knew it, I had my two tickets and headed back home.

Twelve hours after I had waited in line, my roommate and I made our pilgrimage to the glorious lights of Broadway and onward to the Plymouth Theatre. We were amazed to see just how close our seats were. The orchestra was hidden stage right and we were only three feet away from the stage.

George Merritt, (Utterson) opens the show with a direct address explaining his relationship with Jekyll/Hyde. I've got to tell you the second this man stepped on stage we smelled the most God-awful stench. I was thinking, "Damn, you'd think the man would bathe before the show!" I mean it was enough to make you gag! Luckily, we heard the usher behind us removing a rancid smelling bum. We were thrilled it wasn't a cast member! OK, back to the show. Mr. Merritt's voice is booming and his command of the stage is very strong. He sets the tone for what is about to unravel before us and he does it exceptionally well. His performance throughout was stellar. I must add a footnote to this. When I first wrote this, I posted a Cliff Note version in the forum on the Jekyll & Hyde web site. My Post was immediately responded to by Mr. Merritt's wife who asked me not to take "our" lord's name in vain. I told her that if she thought that was offensive she should listen to "Confrontation." I was referring to the line, "Goddamn you Hyde!" I think Mrs. Merrit should be talking to Mr. Bricusse. Not me who needs the doctor, Blanche! But enough of that, back to the show.

"Facade" is the second number which demonstrates the strength of the ensemble. It was as well performed as they're opening of the second act with, "Murder." But the umbrellas were distracting. They'd be better substituted with oil cloth or plain cotton. And cut off the "tab" that dangles----they looked as though they came directly from Bloomies!

The first time we see Robert Cuccioli, Jekyll/Hyde he seems stiff and stoic at best (perhaps it's the character). But, soon we witness the strength and passion of his voice. Mr. Cuccioli's presence is mesmerizing and I'd be hard pressed to find another musical actor as virile and commanding. His best aria is, "This is the Moment" (but the set moves too much and takes away from his performance). His duet with Linda Eder in "Dangerous Game" is both sensual and sinister. While I enjoyed their performances in the number, I must admit that most of the lyrics were beyond trite. "Like a sin with no name. Like a tiger to tame." Like a tiger to tame? What the hell is that about? One of my favourite things about that scene is Ann Curtis' aborigine fur coat. Stunning! Then there's the "Confrontation" number where Cuccioli flip-flops from being Hyde and Jekyll. The whole time I'm watching this number I'm thinking, "This is genius! Oh, no, this is camp! It's Genius! It's camp! GENIUS-camp-Genius-CAMP!" OK, you get the idea. The jury's still out on that one.

Christiane Noll is wonderful in her role as Emma. Her voice is clean and clear. Her "Once Upon a Dream" is beautifully sung. I especially loved her in the duet of "In His Eyes." I love that number, both she and Eder raised the rafters.

Linda Eder triumphs in her role as Lucy. Her acting ability (yes, you heard that right) is surpassed only by her exquisite vocal qualities! We first see her at the Red Rat when she sings "No One Knows Who I Am." As much as I love the song, I'm thinking, "Gee, I don't know who you are either. Why is this song here?" But her delivery of "A New Life" is by and large a tour de force and was met with a rousing round of applause. Linda Eder possesses one of the most beautiful and powerful voices on Broadway.

The show doesn't need polishing, it needs sand-blasting. The production is swamped with problems. Never have I seen so much movement in the wings. Stage hands can be seen changing sets. Why aren't they at least wearing black? Is that too much to ask? The wedding scene is particularly sloppy and I hated the lyrics of Dear Lord.... Dear Lord is right, especially the line "...beauty and the beast." I realize this is in no way a reference to the other musical on Broadway, but the mere mention of it nauseated me. Leslie Bricusse's book is one of the most disjointed I've ever witnessed. I didn't give a Red Rat's ass about the characters. I am also amazed at Robin Phillip's decision to move every piece of scenery through all the big numbers. One word, distracting. When he's not flying sets and props all over the stage, he has the ensemble meander about. It's so damned annoying. But you know what?

This is the moment
Damn all the sets
When all the screaming and flying scene'ry
Scares me to death!"

After the show My roommate and I walked over to the Royalton Hotel for a cocktail. News flash! You can no longer smoke in the lobby there. Quelle triste! You can, however, smoke in the round champagne bar. We discussed the show over glasses of Kir Imperials. I think I liked the show more probably because I've been listening to the score for years. When I mentioned that I'd be willing to see it again, I knew I'd probably be taking along a different victim. When we got our bill for only two glasses of champagne we were aghast to see it was for twenty-four dollars! Can you imagine? Appalling!

In closing, if you want to get rush seats you should get there early and bring something to sit on and some reading material. If you want to see Jekyll & Hyde, then you need to go there expecting a great concert. That's how I look at it. A lousy book, poor character development and, annoying staging should keep you away. Though with great performances and a beautifully lush score it still makes for a lovely evening of theatre. For me, Linda Eder's "A New Life" is well worth the price of admission alone! And if you want to enjoy a cocktail in one of the most strikingly stunning hotels in all of New York. Then I suggest you head over to The Royalton (designed by Phillippe Stark) at 44 West Forty-Forth, between Fifth and Sixth Avenues. Bring a flask as drinks are super cher!

See you next Thursday,

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