Quinn Simmons, David Moreland and Cast Photo by Evan Hanover

Conceived for the stage by Steve Cuden and Frank Wildhorn, with book and lyrics by Leslie Bricusse and music by Frank Wildhorn, with additional lyrics by Cuden and Wildhorn, the musical necessarily expands the Robert Louis Stevenson novella, but the ways in which it does so, although understandable in many respects, don't entirely succeed. These begin with providing a "why" for Jekyll's obsession with his research, namely the trauma of watching his previously "good" father go mad, thus inspiring his conviction that all humans harbor good and evil sides and his determination to develop a means of separating the sides into distinct physical beings.

This sets up Jekyll's conflict with the two-faced members of high society who sit on the board of the asylum where Jekyll proposes to test his theories. It is somewhat perplexing, however, that the refusal to allow Jekyll to experiment on humans seems intended to convey the villainy of these privileged few. The tension between Jekyll and the upper crust is exacerbated by the fact hat he has "landed" Emma Carew, daughter of Sir Danvers Carew. It's with the addition of Emma as Jekyll's fiancée that the adaptation begins to unravel.

Stevenson includes no women to speak of, and the addition or expansion of female characters in older stories is often well-handled and most welcome. Here, though, Cuden and Wildhorn also add Lucy, a performer and sex worker whom Jekyll meets during his bachelor night. The unfortunately clunky implication is then that the upper-class Emma is the appropriate aspiration for the "good" Jekyll, and the fallen, low-class Lucy is a brief temptation for Henry and the object of obsession for the depraved Hyde.

Added to these substantively shaky choices, the show is often unclear, particularly in the second act, where things are strangely compressed. For instance, Jekyll relates in his journal that the transformations have "become" uncontrolled, though the audience has never witnessed Jekyll being able to control the process, a point of confusion that extends to the play's climax, where it is genuinely unclear whether Jekyll believes he has Hyde under control enough to go through with his wedding to Emma, or if the whole scenario is a kind of fever dream. Similarly, Jekyll's letter to Lucy, with which he includes money to enable her to get out of town, thus escaping Hyde's obsession, implies a meaningful connection that is mutual, but we see little of either persona interacting with Lucy.

To Kokandy's credit, the production does excellent work in addressing the substantive flaws of the play, but ultimately, the Emma character feels quite superfluous. The nods to her being a strong, intelligent woman, rather than the "prize" her social circle perceive her to be come off quite flat. Lucy's arc is far more interesting, emotional, and tragic, but this staging does make the best of questionable material for the play's two primary women, not just with excellent performers, but also with strong direction that clearly strives to move beyond lip service representation.

In keeping with this, the design smartly keeps the physical set (scenic design by Sotirios Livaditis) relatively minimal, confining it to a U-shaped, two-level operating theater with a single movable table. This features four exits, two at either side of the stage on the upper level and two at either side on the ground level. The upstage area is open, giving the audience a view of the orchestra, draped in white gowns and sporting old-fashioned surgeon's hats tied around their heads.

This minimal investment in the static physical space clears the way for investing in dynamic elements of the production. The lighting by G "Max" Maxin IV is not only wonderfully creepy, it also directs attention around the stage efficiently and supports the mood of each scene. Matt Reich's sound design parallels these efforts, establishing the real-world environment capably without interfering with the music, singing, or dialogue.

But the production really invests in the visuals for its characters, which pays off beautifully. Syd Genco's make-up design features pantomime/clown-like exaggerated features for all of the ensemble members who play Jekyll's nemeses, as well as the members of Lucy's social circle. Clown white, sharp shadows, spots of rouge, and heavy eye black create a lurid, sinister social world, no matter where the main characters find themselves. Keith Ryan's hair and wig design complements this well.

But it may be Rachel Sypniewski's costumes that really steal the show here. Sypniewski brings the Victorian drama with the impeccable frock coats, brocade waistcoats, top hats, and canes of John Utterson, Sir Danvers Carew, and Henry Jekyll himself. For everyone else, there's a hefty dose of fetish/kink-ware that honors what is persistently interesting about Stevenson's story, better than the adaptation itself. In some instances, these elements are covert and suggestive, taking the form of a wide belt with obtrusive buckles, strappy platform boots, or bust-emphasizing corsets. In other moments, all concealment is cast aside. The overall effect is visually stunning and genuinely and productively provocative. Enhancing all these elements further is the briskly paced, visually interesting, and logically sound choreography (Brenda Didier), as well as the outstanding music (directed by Nick Sula).

David Moreland is phenomenal in the lead roles. His voice is pure and powerful, and his ability to distinguish both physically and vocally between Jekyll and Hyde is impressive.

Ava Lane Stovall meets Moreland beat for beat as Lucy Harris. Not only is Stovall's voice astonishingly good, she exhibits remarkable dramatic chops in a role that offers uneven material. Similarly, Emily McCormick (Emma) is vocally strong and showcases her acting talents in making the most of a character that the creators of the play did not seem to develop beyond a sketch.

Nathan Calaranan (Sir Danvers Carew) and Kevin Webb (Gabriel John Utterson) offer good performances, both vocally and dramatically. In the ensemble, Quinn Simmons is a standout as both Nellie and Poole. Similarly, Maiko Terazawa (Lady Beaconsfield) and Quinn Kelch (Simon Stride/Spider) do great work laying the foundation of debauchery and hypocrisy that characterizes the upper classes.

Jekyll & Hyde runs through December 21, 2025, at The Chopin Theatre, Mainstage, 1543 W. Division St., Chicago IL. For tickets and information, please visit kokandyproductions.com.