After 7,486 chandelier crashes, gondola rides and dramatic endings, "The Phantom of Opera" officially became the longest-running show in Broadway history last night, knocking the musical "Cats" off its throne.

The "Phantom" coronation, at the Majestic Theater, was attended by all manner of Broadway royalty and presided over by the two men largely responsible not only for the new record-holder but also the previous long runner - the composer Andrew Lloyd Webber and the producer Cameron Mackintosh.

The two collaborated on both "Phantom," which opened in 1988, and "Cats," which played a mere 7,485 performances at the Winter Garden Theater from 1982 to 2000, when it closed.

Last night, both Lord Lloyd Webber and Mr. Mackintosh took to the stage after the performance - and a symbolic passing of the baton from a woman dressed as a cat to the Phantom - to comment on their accomplishment.

"I've got to say I don't think I've ever been more nervous in my whole life," said Lord Lloyd Webber, before thanking his cast, crew and creative team.

Likewise, Mr. Mackintosh embraced Lord Lloyd Webber. "I don't think I've ever thanked Andrew publicly for what he's done," he said. He then recounted the show's genesis in a conversation two decades before. "Andrew said, 'Don't you think it would be fun to do "Phantom of the Opera?' " Mr. Mackintosh recalled. "And I said, 'That's a very good idea.' "

The show, based on the 1911 Gothic novel by Gaston Laroux about a masked, romantically minded composer haunting the Paris Opera House, first opened to a blaze of publicity and ticket sales after wowing crowds in London.

Chief among its selling points - besides the swelling Lloyd Webber melodies - were its special effects, which included a simulated ride through subterranean canals and a chandelier that dropped from the ceiling of the Majestic, over the audience, right to the stage. Frank Rich, then the chief drama critic of The New York Times, called the production "as much a victory of dynamic stagecraft over musical kitsch as it is a triumph of merchandizing über alles."

Over the years, that combination churned nearly $600 million in sales into the Majestic's box office, another Broadway record. The show also spawned numerous road and international productions, which have brought the show's worldwide take to more than $3.2 billion.

During the onstage celebration, Harold Prince, the show's director, tried to give a sense of the show's statistical and financial importance to an industry that was in the doldrums when it opened.

"I've been reading a lot of statistics over the last week, most of which don't interest me," Mr. Prince said, before mentioning one statistic that did interest him: "Since 'Phantom' opened, this show has been responsible for the employment of 6,850 people."

After the post-show congratulations, and the dropping of a silver cloud of confetti and balloons, crowds retired to the Grand Ballroom of the Waldorf-Astoria, where a black-tie, masked ball was to take place. (Masks were provided for those who didn't arrive with the appropriate facewear.)

Nearly 11 million people have seen the show at the Majestic, including the 1,600 theatrical bigwigs, V.I.P.'s, and alumni of the production who took in last night's the record-breaking performance.

Some of them had seen the show before at the Majestic - where it broke box office records as recently as last week - and were hoping to see it there for some time to come.

"It's got years to go," said Philip J. Smith, president of the Shubert Organization, which owns the theater, and collects rent. "There's no end in sight."

There was a sense of great anticipation in the large crowd filtering into the Nyack Seaport Center, and with good reason. Host Neil Berg could hardly contain himself as he related how thrilled he was to have some of Broadway’s finest performers singing the music of Richard Maltby, Jr. and David Shire, of whom he is a great fan. Berg was honored and nervous to have these creative gentlemen front and center for an evening of their songs.

This Grammy and Tony Award winning writing team collaborated on a host of noteworthy shows including Baby, Closer Than Ever, Big and Starting Here, Starting Now. Individually, Mr. Maltby’s talents can be seen and/or heard in Tony winners Ain’t Misbehavin', Miss Saigon and Fosse. Mr. Shire’s huge success in song and score writing is realized in his work in films such as Norma Rae, Saturday Night Fever, The Conversation, All the President’s Men, Short Circuit and numerous other productions.

Opening the Nyack show was Ray McLeod (Jekyll & Hyde, Wild Party) appropriately singing “Starting Here, Starting Now” in great voice. Another striking baritone, William Michals, surprised the audience with his light version of “I Don’t Remember Christmas” (Starting Here, Starting Now), a song mostly performed by ladies such as Barbara Streisand and Christiane Noll. Opera star Bob Mattern warmed the crowd with “Autumn” (Cyrano) and MAC Award nominee John Patrick Schutz sang “I Hear Bells” (Starting Here, Starting Now) with his usual charm and animation.

Dreamgirls' B.J. Crosby took the stage in bright African garb to sing a mix from Ain’t Misbehavin'. Accompanied by her brilliant pianist, she captivated the crowd with a sultry rendition of “Mean to Me,” followed by “Black and Blue”. Ms. Crosby then ditched the mikes for the rousing “The Joint is Jumpin'” and did it ever!

Danny Zolli, looking dapper in his sweater and jacket, softened the audience with a quiet song, “I Chose Right,” from Baby. Jane Eyre’s Glory Crampton sang a heartfelt version of “Patterns” and Jodie Langel (Cats, Les Miserables) went from sweet to belting great notes with “The Story Goes On” (both from Baby) to close the first act.

During intermission both Maltby and Shire were mingling, smiling and looking delighted with the entire evening. I was surprised to run into actor/singer Keith Buterbaugh, known for his work in Phantom of the Opera and extensive concert tours. As we chatted, he remarked on how moving and positive these numbers were and that is sometimes missing on Broadway today.

Alex Santoriello opened the second act. Alex led into “Bui-Doi” (Miss Saigon) joined by Bob Mattern, Danny Zolli and John Patrick Schutz. Jokester Ray McLeod promised the ladies a song to swoon to and broke into an in-your-face version of “Your Feet's Too Big” from Ain't Misbehavin'. Again, we were treated to the familiar deep voice of William Michals in a lovely song dedicated to his father called “If I Sing” (Closer Than Ever). Next, Rita Harvey and Jodie Langel combined their sweet voices and mutual love gone wrong songs “It’s Never That Easy/I’ve Been Here Before” (Closer Than Ever).

The always popular Brad Little showed us his lighter side (and his chair climbing skills) with one of his favorite songs, “What Am I Doin'?” from Closer Than Ever. Alex Santoriello, commenting on Brad’s antics, requested to sing his number on Brad’s shoulders, but instead gave us a stirring “One of the Good Guys,” also from Closer Than Ever.

Neil announced songs from the newest Broadway bound musical by Maltby & Shire, Take Flight, to open in 2003. Rita Harvey, also very touched by the privilege to work with this amazing team, sang a truly lovely song from this new musical, “You and The Sky.”

The audience came to their feet as David Shire was asked to come on stage and speak. ”Not to sound self-serving, but isn’t this a wonderful production? It makes me want to get a good night’s rest and wake up and go to work again,” said Shire. Mr. Shire took to the piano and showed us why he earned the awards and respect of his colleagues with a snappy version of “The Conversation.” Next, he accompanied himself on a delightfully well sung “It Goes Like it Goes,” an Academy Award winning song from Norma Rae. Speaking of his beloved friend Richard Maltby, “When he went off to work on his own, it was like giving him up to a woman.” As Maltby took the stage he said, “well I guess we’d better do something.” As if in a scene from The Sunshine Boys, Maltby began the opening of “One Step” (Starting Here, Starting Now), popped open a black top hat for himself and plopped one on Shire who accompanied him on the piano. It was a memorable moment to see this caliber of talent top off the evening.

The entire cast gathered onstage to join them in finishing the song. The audience was on their feet singing and clapping along. It was a very special event with two very remarkable songwriters.

“The Music of Maltby and Shire” was held on April 11th, and was presented exclusively at the Nyack Seaport Center for Cultural Events, Nyack, NY, as part of Neil Berg’s Broadway Concert Series.

For more information on upcoming events: visit www.neilberg.cjb.net

Pati Buehler

The Patchogue Theatre for the Performing Arts is presenting Jekyll and Hyde: The Musical, a lively production chronicling a doctor's battle with good and evil. The show will only for two short weeks - from July 11 to July 28 - so those interested in an evening filled with romance, terror, and excitement, should not miss the chance to see this Broadway-caliber production.
The musical's story line loosely follows that of Robert Louis Stevenson's classic novel about the ambitious Dr. Jekyll who, through his experiments, turns into the evil, malicious Mr. Hyde.  The version presented by the musical is significantly more graphic in terms of violence and sexual content, none of which, however, go so far as to become gratuitous.  What truly enhances the story, however, is the original score. written by Frank Wildhorn and Leslie Bricusse, which feature well-known songs such as This is the Moment and Once Upon a Dream  that are sung with great passion and leave the audience in awe.
Jekyll and Hyde: The Musical began on Broadway, and it was such a hit that it was nominated for four Tony Awards in 1997.  The presentation at the Patchogue  Theatre could not look more professional, and the audience would think it was seeing a Broadway show by the impressive sets and sheer talent displayed on the Patchogue stage.
Brad Little, who plays the role of Jekyll and Hyde, was unmistakably the star. He acts well, sings with intensity, and has tremendous stage presence. His imposing stature alone makes him the focal point whenever he is on stage. Little is extremely effective in changing from the gentle Dr. Jekyll to the ferocious Mr. Hyde; everything from the tone in his voice to his facial expressions undergoes a chilling transformation.  Little is a seasoned Broadway performer, having performed in Fiddler on the Roof, Cyrano! The Musical, and Phantom of the Opera, to name a few of his credits.
Maria Couch, as Emma Carew, Dr. Jekyll's fiancé, and Alicia Irving, as Lucy Harris, the prostitute pursued by Mr. Hyde, are equally stunning in their roles.  Couch has a magnificent singing voice and conveys a pureness of her character that starkly contrast the chaos around her.
Harris sings with a deal of soul that reveals her character's longing to escape the life she leads.  In a duet, entitled In His Eyes, Couch and Harris perfectly compliment each other, making for a powerful moment on stage.
It is obvious that the entire cast of Jekyll and Hyde consist of experienced performers, and the production, in all aspects, could not be better executed.  The set is visually appealing and contains pieces from the original Broadway production, scene changes are made with impressive speed allowing for a fast-paced series of events, and the orchestra plays well throughout the show. Though Jekyll and Hyde is only around for a few more days, it is definitely worth seeing.
The Patchogue Theatre itself has recently been renovated and is beautiful.  Be sure to consider future productions of Funny Girl (August 1-18), Footloose (August 22-September 8), and The Scarlet Pimpernel (September 12-29).  Tickets are $28-$33 and can be purchased at one of the Gateway Theatre's three box offices, online at www.gatewayplayhouse.com or by calling 286-1133 or 1-888-4TIXNOW.

A few tidy observations first:  The production of Frank Wildhorn's musicalization of Robert Lewis Stevenson's "Jekyll and Hyde," currently playing at the Patchogue Theatre as part of the Gateway's 51st season, is splendid in a number of departments.
Larry W. Brown's multi-level set is alternately spare and moody and Victorian and resplendent, a creation of bridges and stairs and frames and a crackerjack laboratory complete with fiercely bubbling beakers.  Christopher J. Landy's lighting design is likewise moody and effective; Heather Barnes's costumes are period correct and sumptuous.
Musical director Jeffrey Buchsbaum provides a strong musical underpinning for the production and has whipped into precise and forceful shape a stage full of singers with highly trained voices. If they come at the audience with disco amplification, it may be necessary because of Wagnerian orchestrations by Kim Sharnberg (or are they by Jason Howland? The program is confusing).
Lynette Barkley has directed this "Jekyll and Hyde" tightly and energetically, and drawn superb performances out of a hugely talented cast. The only rough moments are when composer Wildhorn steals copiously from "Sweeney Todd," which, no doubt, forces Ms. Barkley to do the same.
And once again, Robin allen has assembled a top-notch cast. Darren Matthias is a sturdy Gabriel John Utterson, Dr. Jekyll's long suffering lawyer.  Maria Couch is a soaring soprano who sweetly assays the role of Emma, Jekyll's innocent and patient fiancee.
Alicia Irving is transfixing as Lucy, the doomed prostitute.  Since her role was written for Wilhorn's wife, Linda Eder, she gets the lion's share of the good pop numbers, which she delivers with style and assurance, hitting every vocal trick solidly.  Besides this, she's a fine actress who brings rewarding dimensions of sensuality, terror and sympathy to a role that could be wooden.
And then there's Brad Little as the bi-polar  Doctor Jekyll/Mr. Hyde. A riveting presence with a magnificent voice, he plunges into the role full force and delivers a star performance.  Given the evening's most realized melody, "This is the Moment," he lines it out ringingly  and movingly, and his second act tour de force, in which he sings himself as first Jekyll, and then Hyde (or perhaps the other way around) is a show stopper, despite it's idiotic music and lyrics.
Which brings us to the show itself.  Leslie Bicusse is best remembered for the book and lyrics for the Anthony Newlye/Anna Quayle vehicle, "Stop the World-I Want to Get Off."  A good solid show.  But something seems to have happened to him since then.  Or possibly it's the strain of writing a show that's almost entirely sung through.  Still, rhymes like "dreaming, scheming, screaming" pop up far to frequently in his lyrics for Jekyll and Hyde for comfort.
If they were attached to music that meant something, they may not ring so preposterously. And, to be fair, the sound in the Patchogue Theatre is cranked up so high in order to cut through the massive orchestrations that most of the lyrics are unintelligible anyway.
As for the music: Wildhorn's mix of Andrew Lloyd Webber soft rock is wildly popular, no doubt about it. Even though he hasn't written a show yet that's made back it's investment, he has fans who apparently mortgaged their homes and returned to "Jekyll and Hyde" on Broadway 20 or 30 times.
True to tradition, the opening night audience in Patchogue went nuts, several times.
And every once in awhile, Wildhorn, in his wanderings, comes up, as does Lloyd Webber, with a piece of a schmaltzy melody.  Once he does, however, he milks it and milks it, climbing through the keys and ending with a big, sustained high note, every time.  Well, at least he knows how to bring on the applause.
Admittedly, in "Jekyll and Hyde" he allows his singers to, on infrequent occasions, stop yelling and deliver a little sweetness.  Emma's "Once Upon a Dream" is an island of musicality in a sea of high-energy banality.
But Mr. Wildhorn never shuts up.  His music mutters away in the background, or turns perfectly good dialogue into wandering, pretentious recitatifs, which sooner or later erupt into soft rock arias, written with a relentless lack of inventiveness.
Still, contemporary audiences seem to love the composer.  They filled the Patchogue Theatre's 1,200 seats on opening night and tore the place apart with cheers and applause.  Go figure.
"Jekyll and Hyde" continues at the Patchogue Theatre for the Performing Arts through July 29, where upon the Gateway crew returns to Bellport with "Funny Girl."  The box office number is 286-1133.

This month is "the moment" to take advantage of the incendiary two-act phenomenon Jekyll and Hyde: The Musical, which six months after it's release from Broadway is receiving standing ovations at the Patchogue Theatre for the Performing Arts.
The cast, starring Broadway veteran Brad Little, promises stellar singing and passionate performances in Gateway's  version of of the Frank Wildhorn and Leslie Bricusse musical that won four Tony Awards in 1997.
Based upon the Robert Louis Stevenson novel, Jekyll and Hyde is a musical tragedy set amidst the moral, religious and intellectual laboratory of Victorian England and the depraved underbelly of London streets.  To rid mankind of madness, the mild-mannered Dr. Henry Jekyll endeavors to dissect good from evil in the human mind. While experimenting upon himself, his alter ego surfaces as the murderous Mr. Edward Hyde, who dominates to expose and obliterate the "hypocrisy" of his fellow men.
Cast in this demanding dual lead role is Brad Little, who played Raoul in Phantom of the Opera for two years on Broadway and performed the title role in the national tour directed by Harold Prince.  Though aided by dramatic costume changes, Little's convincing transition between reserved, mild-mannered yet harried doctor and violent, stentorian Hyde rests upon talent, practice and the occasional, maniacal body convulsion!
With a perfect rendering of his lines, one would never guess that Little, who grew up in a family of actors, is dyslexic. Little can read through a script but prefers to rehearse his cues by listening.
The cast was too professional to be distracted by a few minor glitches in Saturday's show, such as a little spilled "potion" from the laboratory, or a moment of disharmonious singing. And, it was testimony to Little's passionate acting that he literally spat out a few of his lines.
The high-pitched duet, "In His Eyes," by Emma Carew (Maria Couch) and Lucy Harris (Alicia Irving) at times seemed to reverberate beyond the theater's acoustic capacity, but their singing nevertheless carried beautifully throughout the play. Earlier in the show, Couch, who debuts at the Gateway coming off the first national tour of Phantom as Christine, stole the spotlight with her vibrato in "Take Me As I Am." She also performed tenderly the role of Emma, Dr. Jekyll's devoted but hapless bride.
Irving (also a seasoned Broadway and regional actress) fleshes out Lucy - a prostitute who vacillates between a determined woman with choices and a victim of corruption and violence-as a character with a soft side and secret hopes.  Yet she is able to do so without over-sentimentality.  Carlos Ponton also was commendable with his snarling portrayal of Spider, the pimp.
Now through July 28, Gateway holds the distinction of hosting one of the first regional productions of Jekyll and Hyde. With the conclusion of the musical's Broadway circuit this past January, and its national tours in May, local Director Lynette Barkley said she agreed to assemble the Long Island premiere before even checking her schedule.
Seeing the Broadway version of Jekyll and Hyde on several occasions inspired Barley with ideas about what elements to make it scarier, sexier and clearer for the regional version. She delivers, and not without some surprises. The stunts are literally "incendiary"  and some of the scenes quite sexually and violently provocative.  The character of Jekyll's steadfast friend, John Utterson (Darren Matthias), also delivers quite a blast.
Gateway's producer, Paul Allan, acquired pieces of the set, such as the hanging portrait and the palor desk, from the Broadway show.  Scenic Designer Larry Brown recreated Victorian London using a pragmatic backdrop of faux-brick building facades, gray stairways and a red screen, all of which accentuated the tone of horror drama.  Hyde's richly hued and textured costumes, designed by Heather Barnes of Costume World, become appropriately more outlandish  with each progression of the doctor's "madness."
Jekyll and Hyde will thrill audiences at the Patchouge Theatre for the Performing Arts through July 28.  Tickets are available for $28 to $33 by calling 286 1133.

We're sitting here on the steps behind  The Patchogue Theater in Long Island,
NY, Brad Little has just finished a double show in a role he's wanted and waited to do for a few years. A look of satisfaction, relief and sheer joy beaming from his smiling face. As he fusses with his "new Hyde" hair wrapping around his shoulders, we both take a big breath. You did it ! YES! (Big smiles !) The interview begins.

Pati: Congratulations! What was it like to finally do Jekyll ?

Brad: Thank YOU (laughing) Doing this version was a real experience. I have to admit my Hyde parts came out in me in a bit of frustration having to get this baby up in just two weeks. We had to get out the whips to make it happen but we did it. It's very exciting. It's very, very exciting! In so many ways the sense and feel are so similiar to Phantom.

Pati:I also want to congratulate you on winning the Philly award for Che at Bristol's "Evita".

Brad: Thank you. Yes, they called me and told me. (smiling) how bout that ?

Pati: You mentioned that Che was a demanding role. How would you compare Che & Phantom with Jekyll & Hyde ?

Brad: They're really all power roles and it's a rush to do them all. If there were a role that I have to really take care of myself, it's Phantom . The other two roles are like an in your face, screaming role. Phantom is a lot more singing, a lot more lyrical. Che is probably the easiest of the three because he's really just rock'n roll. I can go out and party and do Che and not worry to much.
The role of Jekyll/Hyde is a little more to deal with. But the role of Phantom, I really have to be in tip top shape. My cords have to be their best to pull off Phantom. But, Jekyll is more bodily, physically more exhausting.

Pati: Then you can probably appreciate guys like Bob Cuccioli & Rob Evan who played this role for 3 or 4 yrs. straight.

Brad: Oh ! Absolutely ! You know, I'm thinking how I could analyze this. Doing J&H is like playing a running back in a football game where you get the ball every play and you get hit and tackled. Yeah it's like a football game. Phantom is like running the marathon. It just has a little more finesse . It's a whole different type of exhaustion. That's the best way I can compare the two.

Pati: What's the "home run" rush in J&H ?

Brad: Well,  aside from the obvious with the end of singing "This Is the Moment". That's the obvious rush.

Pati: Well they sure did clap for a long, long time. I had to restrain myself from yelling
 You Go Brad ! (both laughing).  Your "Moment" was very unique and focused on the
words and feelings at the start and then built up to the power. Very enjoyable !
Brad, What are the challanges of playing this role ?

Brad: The biggest challange is changing on time for my next cue for the next character. That is by far most challanging. The biggest onstage challange is probably "Alive" because I've just sung three things before that and I've gotta go right into "Alive", do a short scene, and back to doing "Alive" again all the while climbing walls and the bridge.

Pati: Your Jekyll climbs a whole lot.  So did your Che. Seems you must like to climb.
Maybe there's a little monkey in you.

Brad: Could be  (laughs)  Yes, well that's my choice . I like making things look more physical. I like to use the sets.

Pati: Now here's a real question that the "jekkies" always toss around about Jekyll's awareness of Hyde. Is Dr. Jekyll aware of and responsible for Hyde's actions ?

Brad: My interpretation is like a drunken blackout. You know how people can drink so much and don't remember anything. No, it's these drugs. I know a few people who
have drunken blackouts and they are awake but totally unaware of what they've done .
When you talk to them the next day they have no clue what they've done. Yeah, that's my take on it.

Pati: If you were handed a contract under ideal circumstances could you choose a favorite role for Brad Little ?

Brad: Ummm..(long pause) Gee, it's weird you know I had the one that jumped in my mind. I mean, Phantom was pretty unbelievable. Ahhhh ...this is a great question but a tough one. There's so many, how could I choose ?  The one that I'd  really love doing
is Billy Bigelow in Carousel, you knew that . You know what I would love ? a real updated modern version of that show, almost make Carousel "Wildhornessque.(?). You know how Wildhorn write his pop ballads, while still using Rogers & Hammersteins  stuff. (laughing).

Pati: I can't help reflecting back to our April interview when you told me you had "no idea what you'd do next" and next thing you know you're getting an award for Che and just landed one of Broadway's hottest roles. Guy, you are really on a roll.

Brad: Well, yeah suddenly things are good. I'm going out to Galveston to play El Gallo
closing night of Jekyll and then  "A Little Night Music" until Dec. and there are things burning in the fire for Jan. let's hope it continues on.

Pati: I hope so too. You are so  talented  and good at your trade and such a neat guy. You deserve to  be working.

Brad: Awwwww,  thank you very much, Pati.  I love what do and  it continues paying the bills so heck, there you go.

Pati: Thank you for spending so much time with me . Until we meet again, take care of yourself. You go Guy!

The stage is dark and gloomy. An iron bridge hangs high between a twirlling staircase and a brick pillar with entrances and a balcony. A foggy backdrop of a London street creates an errie familiar feeling that you are not about to see a merry Disney musical !

Since it's close on Broadway in Jan. 2001 Frank Wildhorn's gothic thriller "Jekyll & Hyde" the Musical was released for use. TheGateway Performing Arts wasted no time
securing the rights to re-create murder, seduction and a touch of dark humor at the Patchogue Theater this summer.
The Plot
Yes, it's the old classic Dr. Jekyll with a passion to seperate evil from good only to find himself alone in this noble pursuit and mocked by London's uppercrust officials. In desperation to further his work, he experiments on himself. Big mistake ! Perhaps he put a bit too much castor oil in his formula because the creature he turns into is about as palatable as fish oil. His evil twin, mysteriously named Edward Hyde, reeks vengence on
those snooty scoundrels who dismiss the noble doctor's brainstorm and pay dearly with their lives. To make matters worse, there's always a lady or two to confuse the plot and boy do they have this poor guy confused !  First he can't decide who he is, then he can't decide which woman he won't kill .
The Production
The Patchogue's take on Jekyll & Hyde is one of  bold creativity on the part of director Lynette Barkley, who had the courage to re-arrange music, lyrics and lines all within the guidlines of the original creators.  With only two weeks to prepare she obviously did her homework on this production.

I attended the show on July 14th, the fourth running night and both lighting and sound headed by Christopher Landy and Greg Reif, respectively, went on with no noticeable gliches at all. This was not an easy task seeing that scenic designer Larry Brown had most of this small cast up and down and all around very effective stairways, multi-leveled entrances and a bridge. Musical Director Jeffrey Buchsbaum was right on target throughout the night as well.
Not to go unnoticed that unlike most Broadway stages that have computerized machines
pulling the props in and out, the Patchogue used good old fashioned elbow grease and talented stage hands who quickly and quietly changed the stage with remarkable stealth.

The Cast
Brad Little: (Jekyll & Hyde) played this role as if it were written for him. His Dr. Jekyll was serious. His passion for his work as well as for  his lovely fiance, Emma was as gentlmanly as any proper Englishman should be. Brad, whose deep clear baritone voice has captured audiences everywhere as Phantom in "The Phantom of the Opera" . This score was well within his range.  His "This is the Moment" was particularily well done and unique in it's quiet passion that exploded in power. Brad's " Hyde" (no pun intended), was a force to be recognized. Six foot three inches of a very long haired, evil beast held the audience's attention and  had those he preyed upon running for cover as he chased them over bridges,  up the stairs  and in and out of dark entrances. His lust for flesh was almost too hot to handle during "Dangerous Game" where he forces himself upon his lady of the night, Lucy Harris. His lust for murder is no better as one by one he pulverizes all those who denied him. Poor Lucy seems terrified yet strangely attracted to him.  What nightmares this gal had !
 One of the final scenes where Jekyll confronts Hyde (Confrontation) was set to special lighting and music which captures the intense torment for domination of personalities. This show obviously focuses on this character and Brad has no problem making you believe he is indeed two seperate, desperate men in one, a formidable task well excuted.

Maria Crouch: (Emma Carew) is the respectable fiance of Dr. Henry Jekyll. Maria was very much the lady with a touch of outspokeness . Her devoution to Henry was touching.
Maria's bell-like soprano was evidence of some serious training and experience.

Alicia Irving: (Lucy Harris) was a very convincing prostitue and that's a compliment .
 There have been some very talented ladies to lure Mr. Hyde . My only complaint is that some of the Lucys looked and acted more like catwalkers instead of streetwalkers. There was no mistaking this girl's trade. As they say the "bad girls always get the best parts/songs". Her rendition of "Bring on the Men" was saucy and gritty, though the choreography for this number was feeble.
Alicia seemed a bit too focused on hitting her notes in  "Someone Like You" but began to
loosen up in the second act. If I'm not mistaken, they lowered the key of "A New Life" which is the big belter song for Lucy. Her ability to make us feel for her was evidence of
fine acting.

The ensamble was very strong as a whole. A few who stood out because of their strong voices were Darren Mattias (Utterson) who did a fine job on a solo bit on the stairs and
Michael Hayward-Jones (Sir Danvers Carew) who played Emma's father with compasion and a seasoned voice. Carlos Ponton (Spider) a bit young for a pimp, yet very mockingly
convinces Lucy that she's worthless and his.

One has to realize seeing Jekyll & Hyde not to take this all too seriously. After all, we are
witness to a drug obsessed man/beast dropped in a gothic almost sci-fi plot filled with outrageous murders set to music. Some critics have termed this show "campy" with lyrics that rhyme too often. Perhaps, but no more than "Phantom" or "Les Miz".  Others deem this some of the best ballads of Broadway. But then there's always those faithful followers called the "jekkies" who have made, supported and kept this show alive for four years now. I wouldn't recommend this show to be seen by general audiences, but it sure is a kick for the adventerous theater goer.

Producer: Paul Allan  Director:Lynette Barkley Musical Director: Jeffrey Buchsbaum
Scenic Design:Larry Brown Sound Design: Greg Reif

Jekyll & Hyde runs from July 11 through July 28th at the Patchogue Theater, Long Island, NY.

A "Jekyll & Hyde" Trying For the Right Chemistry
 
 

REFLECTING the struggle between good and evil in Robert Louis Stevenson's classic novel "Jekyll & Hyde," the musical version stages a war between merit and mediocrity.
In this Long Island premiere, the forces of each are formidable.

Battling valiantly on the side of artistic virtue is the cast headed by Brad Little, playing the title character(s), Dr. Henry Jekyll and his demonic alter-ego, Edward Hyde.

As the good doctor, Little projects the naive righteousness of a change-the- world hippie, waving his shoulder-length ponytail like a freak flag in defiance of the establishment whose approval he hopes but does not expect to gain. Jekyll needs a human subject on whom to conduct his experiment in isolating the evil half of man's duality. But when he is derided as a madman, Jekyll recruits himself as guinea pig

Little accomplishes his transformation into the violently vengeful Hyde by unfurling his ponytail in a scraggly veil of evil. What a difference a 'do with an attitude makes. Not to mention the vocal demarcation between Jekyll and Hyde. The purity of Little's clarion baritone that rings through in the pop-schmaltz hit from the show, "This Is the Moment," becomes a guttural growl as his villainous side takes to the streets of London in "Alive." Yet the vocal bridge is crossed without obvious affectation or loss of intensity.

Little's stunning virtuosity diverts our attention, for a time, from the overwrought music and underwhelming lyrics that ultimately reduce "Jekyll & Hyde" to a cartoon opera.

Alicia Irving as Lucy, the prostitute Jekyll and Hyde meet separately; Maria Couch as Emma, to whom Jekyll is engaged; Michael Hayward-Jones as Emma's father, and Darren Matthias as Jekyll's loyal friend, all conspire to rescue the musical from itself.

Irving lifts the show temporarily in "Bring on the Men," one of the few numbers that displays a sense of humor. And as she and Couch trade soprano riffs in "It's a Dangerous Game," we might even be thrilled. But by this time, deep into Act II, we're worn down by too many lame rhymes -- "I don't know who to blame/It's a crime and a shame/And the angels proclaim" -- and too many overorchestrated flourishes on a score that meanders with aimless pomp.

Director Lynnette Barkley stages the talk-singing expositions with clarity, building up our expectation for each of the more dramatic scenes, while set designer Larry Brown efficiently transports us around Victorian London, from an airy mansion in Regent's Park to Jekyll's dark basement lab. Musical director Jeffrey Buchsbaum's orchestra pumps as much life into the accompaniment as the gussied-up notes allow.

I'm reminded of another musical of a classic tale, even darker than this one. Too bad the "Jekyll & Hyde" creators took themselves far more seriously than did Stephen Sondheim with "Sweeney Todd."
 
 
 
 
 

from Playbill On-Line March 12, 2001

Last Monday's storm turned out to be nothing, but for safety's sake, Theatre Resources Unlimited canceled the sold-out March 5 reading of Mark Weiser's musical adaptation of Sir Walter Scott's Ivanhoe. The rescheduled performance will be held March 12 at the 14th Street Y Theatre.

Jekyll & Hyde's Rob Evan stars as Ivanhoe, a young knight who returns home post-Crusades to reunite with his family. The Phantom of the Opera's Brad Little plays the evil Knight Templar Guilbert with Jeanne Goodman (Summer of '42) as Rebecca, a Jewish girl who falls in love with Ivanhoe.

Also in the cast are David Gaspin, Andrew Gitzy, Blythe Gruda, James Hay, Rudy Martinez, Paul Niemi, Margaret O'Brien, James Riemer and Michael Washington.

Culture Project artistic director Will Pomerantz directs. 2001 Bistro Award winner Mark Hartman is the musical director.

Ivanhoe is presented through Theatre Resources Unlimited. All TRU readings are free and each features a "Dollars and Sense" panel with New York producers and general managers afterwards. The 14th Street Y is located at 344 E. 14th Street. For reservations, call (212) 714-7628.

Theater Resources Unlimited is a support group for musical theatre writers and playwrights. Among the services offered to members are staged readings and seminars on producing and creating work in New York City.

— By Christine Ehren

'I Married an Angel,' at the 14th Street Y
 

The New York Times 09-23-00
 

By BEN BRANTLEY
 

Beauty's truth; truth is beauty./ Gabriel, blow your rooty-tooty!"

This bit of celestial invocation, from the 1938 musical "I Married an Angel," suggests what the Bible might sound like had it been written by Lorenz Hart. Actually, to get the full effect you need to hear the words sung, with honeyed harmony and swinging rhythms, to Richard Rodgers's music, preferably by a chorus of cherub-faced sopranos with Pre- Raphaelite hair.

As it happens, such a choir is on call through this weekend at the 14th Street Y, where "I Married an Angel" has been given an infectiously loving concert production by Musicals Tonight! Overseen by its tireless producer, Mel Miller, Musicals Tonight! is an admirable shoestring variation on the formula behind the beloved Encores series of American musicals in concert.

With only a piano in lieu of an orchestra, and an ensemble of varying experience and polish, this production nonetheless offers vivid glimpses into the heaven that is Rodgers and Hart, which of course has room for an earthy spirit of whimsy. It says much about the show's tone that when the angel of the title marries a human, she loses her wings on her wedding night.

The charms of the original production, which ran for nearly a year on Broadway, can only be partly realized in a concert staging. Instead of an angel who learns to dance when she can no longer fly, famously created by Vera Zorina, this version offers one who sings. She is played by Nanne Puritz, who is sweet-sounding indeed (in interpolated vocal parts) as the creature who descends to answer the prayers of a love-weary Budapest banker (Brad Little).

But the evening, efficiently staged by Thomas Mills with musical direction by Mark Hartman, really belongs to the worldly. That category notably includes Mr. Little's converted cynic, who radiantly delivers the title song, and the invaluable Kathy Fitzgerald (of the Broadway revue "Swingin' on a Star") as a man- savvy countess who teaches the angel how to survive on earth.

"Are all women bad?" asks the angel. "Only the good ones," answers the countess, who proceeds to explain that truth is not necessarily beautiful in a wicked hymn to deception called "A Twinkle in Your Eye." Ms. Fitzgerald's knowing rendition alone makes the $15 ticket to the show a heaven-sent bargain.
 

An Interview - recently Brad Fan - Pati Buehler interviewed Brad and Rob Evan. Enjoy!

"FRIENDS & FIENDS": An interview with Brad Little & Robert Evan
by: Pati Buehler

"Phantom of the Opera" and "Jekyll & Hyde"- both Broadway smash hits. Both dark, evil and filled with murder, mystery and a" monster" and a   love traingle with a tragic ending. But the similarities don't end there. Both of the leading "villains" of these musicals have lots more in common than their dastardly deeds !

I met Rob in LeMiz in 1996  and Brad a few years back while working on a Broadway charity concert, only to discover they really are great pals who would "kill" to be in each others role!

I caught up with both Brad Little, star of "Phantom" and Rob Evan "Jekyll/Hyde"star performing together again, at last, in "The Music of Neil Berg" concert in Nyack, NY this April.

Here's how our chat went:

Pati: Rob, tell me, having "transformed" into a monster so many times, what is it about that "masked man" that attracts you and so many actors who would love to play "Phantom"?

Rob:(laughing) You know Pati, it's because he's  only onstage about 25 min., where as with Jekyll, I'm onstage the whole time !  Phantom is an easy gig ! No! No! What I like about it is it's so mysterious. It's a beautiful, gorgeous song and you don't have to wreck your voice to sing(smiling). It's also the mystery AND it's very sexy& dark. It's also a coveted part. Who wouldn't want to play a part that's successful, long running and coveted ?

Pati: Brad, after wearing the mask all over the country for 3 years, and brilliantly I should add, what was it that caught your eye about Jekyll, an even more demanding role than Phantom ?

Brad: Well, it scared me to death, to tell you the honest truth. It's more demanding in the vocal sense. I don't know about emotionally, though. Other actors (Phantoms) loose their voice. I was one of the few who wasn't out much, but there were emotional demands with it. When I saw Jekyll, I thought there was no way I could do that. But I thought that about Phantom at first, but I was able to hold on. These roles, these "powerhouse" roles as we like to call them, there's a rush, like playing sports like baseball. It's hard to describe, but you get up there and you're a guy and you're just wailin' and the ladies love it ! It's very exciting to do !

Pati: (laughing) It's fun to watch too!
Both of you have  made me aware  that not only did you "playfully" tease each other about wanting to switch roles, but you both expressed to me how fond you are of each other. How and when did you meet ?

Brad: We met doing South Pacific, I forget the year, but Rob was just out of Ga.(college) a year or two. I was doing Lt. Cable and he was one of the sailors. That's where we met and had a great time. The next thing I know, Neil Berg is saying, "Rob Evan is coming to do the "Super Star" concert up here. I said,"Rob Evan, no way!"  That was a few years later after.

Rob: Funny, tonite Neil is talking about long relationships. I met Brad in my first professional show in 89 or 90. I was offered an Equity card and didn't really know what that was all about. Brad was Lt. Cable and I was in the chorus. Brad had his nose in the air (both laughing) cause he was a "star". But here we were,  two "guys" and I kinda looked up to Brad.( Brad:...laughing.. Yeah, I taught him everything he knows !)
We occassionally ran into each other and "re-connected". Now we're talking about going into business together.

Pati: That's interesting. Maybe we can talk about that later.You each have a very different lifestyle. Brad, you and your lovely wife, Barbara, also a wonderful actress, choose a single couple life while performing  often apart from each other for a long time, yet you both find time for charity. Tell me about your unique animal charity ?

Brad: Yes. The "Angel Fund" to save the African cheetah. My wife and I went to Namibia just to see how endangered the cheetah really are. The farmers are not only killing them for preying on their livestock, but they are in danger of dying of hunger because fences have prevented their migration. Another problem is that a vast majority of the land is being taken over by thick, thorny bushes which can harm the cats. CFF (Cheetah Conservation Fund, which receives funds from the Angel Fund) is removing these bushes and manufacturing them into log form, much like the dura logs in this country. The logs are being sold in Africa and Europe. It raises miney for the Namibian government, puts Namibian citizens to work and helps to save the cheetah.

Pati: That is pretty remarkable .  Rob, You are the #1 family man with a lovely wife and three adorable little guys, whom you can't bear to be apart from. ( both laughing). Yet, you too, are involved with charity concerts. Tell me why ?

Rob:  Yes!  you know that I was given an award from the Lukemia Society, which although I didn't have a direct connection,  but hopefully my concerts helped to enlightened people and spread the word about such a great cause. Of course, anything I can do help children , like the "Make A Wish Foundation", is especially important to me.

Both: And of course" Broadway Cares Equity Fights Aids" is of special interest to us .

Pati: Both of you also shared your final performance as Broadway's leading "bad guys" within a few months of each other. Yet, the only other role you've shared was "Jesus" in "Jesus Christ Super Star". From "Messiah to Monster" right ? What show would you like to do together ?

Brad: I don't think there's a show written yet. I'd love to have a show written about "us"... guys in this industry. We seem to both go up for the same roles. If anyone else get's a part that I went for, I'd be dissappointed. But if it were Rob, I'd be thrilled ! .

Rob: (laughing) "Messiah to Monster"  that's funny . Neil Berg  is writing a musical about "The Man who would be King". It's rare that there are two leading men in a show. But in that case there are two leading men. Hopefully that may happen. I don't know, Pati, what could we play together ?

Pati: It's pretty obvious to me that you two have a brotherly type love going on . (laughing) I don't know...what about " Odd Couple-the Musical?"

Brad: (laughing) Yeah but who would play who ?

Pati: (laughing) I know Rob better, so you'd have to be Felix, Brad !

Brad: Felix ! Oh come on, you haven't been in my bedroom! No Way ! You need to talk to my wife!

Rob: (laughing) you're right I'm definately Oscar ! You write it, Pati and we'll do it !
Really what else is there ? Hey!  we could split the roles of Jekyll and Hyde between us!

Pati: Now that's one I'll see! You two seem to parallel more than most realize. Rob, you sing a passionate "Music of the Night" and Brad a powerful "This Is The Moment". Any plans for  new CD's ?

Brad: I would love to. Just financially it's so impossible to think about. Doing a CD on the very inexpensive end is a bout $55,000. Doing a high quality CD is about $100,000. I would like to not digress in my CD process so my next CD will be delayed until my next big job to save the money for another. But if someone wants to produce another CD, that's another thing. But they don't always come flying in.

Rob: I've taken a new direction , as you know. What I'm doing now is a totally pop CD. Two cuts already and it's for a label, so it's a whole different thing. I have such a love to sing pop music, you know that, at least give it a try. It turned out pretty great and a lot of other people agreed with me and that's the direction I'm headed.
A Broadway CD to me, is only going to sell to a limited audience. I love recording so much. I want to create something different or new or maybe old , which is what we're doing. You think of the pop singers of the 60's, 70's. They were big singers. Mark Anthony is a big singer and others. If I'm going to make one,  I want it to sell not just to my fans. Not to say that won't go back and do a Broadway record. I want to do something that's not been done before or I want to change it. Maybe it's something I need to get out of my system. Well, we'll see where it heads.

Pati: Rob, from what I heard on your headphones, it sounds promising. You two have many loyal fans and friends who support your work. What's next for you ?

Rob: Well, I'm trying to do more t.v. and films. You're  right about me being a family man and Broadway is a hard life. I'm realistic. Even though I played two big Broadway leads back to back, it's just not happenning.
Those big parts are not always out there. So, although I love performing live, while I wait , I know that t.v. or film can change your family's  life financially. So my agent is doing more t.v and film pursuits and the pop record.  I'm out of the picture for a purpose. A lot of the industry perceives me as Jekyll/Hyde so you have to kind of re-invent yourself. It's not to say that if a great Broadway part came around I wouldn't do it. Playing Jekyll& Hyde for so long was physically too much. I really admire Brad for being out there for so long.

Brad: I wish I knew. Right now it's almost like going back to the good old days. Just doing shows and roles that I've not done and getting them under my belt. Doing 1 role for 3 and a half years, you need to get the artistic juices going and I've been doing that now. And I'll probably continue doing that until that next big role comes. Who knows some writer right now might be at his desk writing the next role Brad Little or Rob Evan gets to do. We just don't know. Phantom was written once and Michael Crawford probably sat with someone like you, Pati, chatting about his next role,  as ALW wrote a show just  right for him. The odds are slim, but it's also the love and passion for the artistic drives in the field of performing live on the stage that thills us, even in the little towns of Va. or Bristol, Pa. You've got to bring joy to those people as well.

Pati: Well, you two have certaintly brought a lot of joy and pleasure to thousands of theater fans and the many people that know you as friends. Thanks to both of you for the nice chat.

Both: our pleasure and thank you.

From Playbill On-Line

I Married An Angel, Rodgers & Hart Rarity, Ends Sept. 24 in NYC
 

The intimate New York concert revival of Rodgers and Hart's I Married an Angel ends its run Sept. 24 and the tickets for the final weekend are scarce.

Musicals Tonight!, the Manhattan company devoted to small scale concert revivals of musicals, is gaining popularity and all performances except 7 PM Sept. 24 are booked, at the 14th Street Y in Manhattan. Because reservations are unpaid, however, a waiting list forms at the door.
 
 

The 1938 musical by Richard Rodgers and Lorenz Hart was revived by the troupe beginning Sept. 12. The libretto was by composer Rodgers and lyricist Hart based on a play by Janos Vaszary, and provided the songwriters with a jumping off point for such tunes as "I'll Tell the Man in the Street," "Did You Ever Get Stung?," "Spring is Here," "At the Roxy Music Hall," "A Twinkle in Your Eye" and the title song.

The show concerns an eligible Budapest bachelor-banker who is so picky about women that he decides the only suitable bride would be an angel. An angel appears and they marry, and she has to adjust to imperfection of an earthly life.

The revival, presented as an Equity-approved showcase at the Mainstage at the 14th Street Y, is directed by Tom Mills and musical directed by Mark Hartman. The cast includes Brad Little, Kathy Fitzgerald, Kenny Morris, Nanne Puritz and Ritta Rehn.

Tickets are $15. The 14th Street is at 344 E. 14th Street in Manhattan. For information, call (212) 362-5620.

*

In 2000-2001, Musicals Tonight!, run by Mel Miller, will stage four shows representing some of the most famous last names in musical theatre history — Rodgers, Hart, Mercer, Porter and Berlin.