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** "Confrontation" consists of Jekyll and Hyde in a heated argument. In many productions both are portrayed by the same actor, which demands either solid acting chops to pull off convincingly. As a result, sometimes the song is staged with one half of the actor having hair and makeup to look like Hyde, and the other made up normally to look like Jekyll. When they switch parts of the song, the actor turns so that either his left or right side is exposed to the audience - complete with lighting cues. The concept is already flawed - but in the hands of a bad actor, it is absolutely hilarious.

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** "Confrontation" consists of Jekyll and Hyde in a heated argument. In many productions both are portrayed by the same actor, actor and ''without'' prerecorded lines as in the concept albums, which demands either both solid acting chops to pull off convincingly.convincingly and little room to catch a breath. As a result, sometimes the song is staged with one half of the actor having hair and makeup to look like Hyde, and the other made up normally to look like Jekyll. When they switch parts of the song, the actor turns so that either his left or right side is exposed to the audience - complete with lighting cues. The concept is already flawed - but in the hands of a bad actor, it is absolutely hilarious.
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* NarmCharm: "Confrontation" is a song that essentially has an actor having a duet with ''themself'' with very on-the-nose lightning cues to mark who is Jekyll and who is Hyde. It's ridiculous and shouldn't work, but in the hands a truly great actor and singer, or in the case of Creator/DavidHasselhoff, someone who truly brings his 'A' game, the song can still work marvelously.
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** "Confrontation" consists of Jekyll and Hyde in a heated argument. Since both are portrayed by the same actor, one half of the actor has hair and makeup to look like Hyde, and the other made up normally to look like Jekyll. When they switch parts of the song, the actor turns so that either his left or right side is exposed to the audience - complete with lighting cues. The concept is already flawed - but in the hands of a bad actor, it is absolutely hilarious.

to:

** "Confrontation" consists of Jekyll and Hyde in a heated argument. Since In many productions both are portrayed by the same actor, which demands either solid acting chops to pull off convincingly. As a result, sometimes the song is staged with one half of the actor has having hair and makeup to look like Hyde, and the other made up normally to look like Jekyll. When they switch parts of the song, the actor turns so that either his left or right side is exposed to the audience - complete with lighting cues. The concept is already flawed - but in the hands of a bad actor, it is absolutely hilarious.
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* HilariousInHindsight: The surreal imagery and lyrics in "The World Has Gone Insane" call to mind the [[VideoGame/DrJekyllAndMrHyde infamous NES game]].

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* HilariousInHindsight: The surreal imagery and lyrics in "The World Has Gone Insane" call to mind the [[VideoGame/DrJekyllAndMrHyde [[VideoGame/DrJekyllAndMrHydeNES infamous NES game]].

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Renamed one trope.


* QuestionableCasting:
** Among the castings are theatre royalty [[Theatre/LesMiserables Colm Wilkinson]] and [[Theatre/ThePhantomOfTheOpera Steve Barton]], weird additions like Creator/DavidHasselhoff and [[Music/SkidRow Sebastian Bach]], and perhaps most infamously Takashi Kaga. And that's just for the character of Henry Jekyll/Edward Hyde.
** Creator/DavidHasselhoff was the final Jekyll/Hyde in the show's Broadway run. One of the performances was videotaped and released on [=DVD=]. Some consider his performance to be NarmCharm of the purest kind, though it's clear that, skills aside, he certainly put his all into the role.
** Takeshi Kaga was actually quite well-known for starring in musicals in Japan prior to his Series/IronChef days -- he had also played [[Theatre/LesMiserables Jean Valjean]] and [[Music/JesusChristSuperstar Jesus]], among other roles.



* WTHCastingAgency:
** Among the castings are theatre royalty [[Theatre/LesMiserables Colm Wilkinson]] and [[Theatre/ThePhantomOfTheOpera Steve Barton]], weird additions like Creator/DavidHasselhoff and [[Music/SkidRow Sebastian Bach]], and perhaps most infamously Takashi Kaga. And that's just for the character of Henry Jekyll/Edward Hyde.
** Creator/DavidHasselhoff was the final Jekyll/Hyde in the show's Broadway run. One of the performances was videotaped and released on [=DVD=]. Some consider his performance to be NarmCharm of the purest kind, though it's clear that, skills aside, he certainly put his all into the role.
** Takeshi Kaga was actually quite well-known for starring in musicals in Japan prior to his Series/IronChef days -- he had also played [[Theatre/LesMiserables Jean Valjean]] and [[Music/JesusChristSuperstar Jesus]], among other roles.
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This is not YMMV.


* VillainBall: Of all the times for Hyde to reappear, he ends up doing it at Jekyll's ''wedding'' where he's endangering all the people (still alive) who are important to Jekyll. Even the embodiment of TheUnfettered should have enough self-awareness to know that wasn't going to end well for him.
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** Lucy does get a handful of really good numbers as well, though since her original actress was [[CreatorsPet dating the writer]] it should be no surprise.

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** Lucy does get a handful of really good numbers as well, though since her original actress was [[CreatorsPet [[CreatorsFavorite dating the writer]] it should be no surprise.

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* BrokenBase: Later versions of the musical included a subplot about Jekyll's terminally ill father who becomes the catalyst for the creation of the potion. The base is fairly evenly split between those who like the addition and feel it creates more sympathy for Jekyll, and those who despise the addition for that very reason as they feel it undermines the intentional moral ambiguity of the character. The fact that the subplot has absolutely no basis in the source material just adds more fuel to the fire.

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* BrokenBase: BrokenBase:
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Later versions of the musical included a subplot about Jekyll's terminally ill father who becomes the catalyst for the creation of the potion. The base is fairly evenly split between those who like the addition and feel it creates more sympathy for Jekyll, and those who despise the addition for that very reason as they feel it undermines the intentional moral ambiguity of the character. The fact that the subplot has absolutely no basis in the source material just adds more fuel to the fire.



* FirstInstallmentWins: While each version of the show has its fans, most agree that the early pre-Broadway concept albums with Colm Wilkinson and especially the full album with Anthony Warlow are probably the best, for reasons ranging from the story focusing much more on the relationship between Jekyll and Hyde and all it represents rather than on the love triangle that dominates the later versions, Simon Stride being more fleshed out as a secondary antagonist, the orchestrations fitting the Gothic tone of the story as opposed to the more 90s pop/2000s rock orchestrations that appeared on Broadway, and the sheer amount of passion each performer brings to their roles (as well as Wilkinson and Warlow both having the singing and acting chops to pull off the switch between Jekyll and Hyde perfectly even without visuals).

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* FirstInstallmentWins: While each version of the show has its fans, most agree that the early pre-Broadway concept albums with Colm Wilkinson and especially the full 1994 album with Anthony Warlow are probably the best, for reasons ranging from the story focusing much more on the relationship between Jekyll and Hyde and all it represents rather than on the love triangle that dominates the later versions, Simon Stride being more fleshed out as a secondary antagonist, the orchestrations fitting the Gothic tone of the story as opposed to the more 90s pop/2000s rock orchestrations that appeared on Broadway, and the sheer amount of passion each performer brings to their roles (as well as Wilkinson and Warlow both having the singing and acting chops to pull off the switch between Jekyll and Hyde perfectly even without visuals).
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** There's also a small but fairly significant one surrounding the LoveTriangle. Essentially, you've got one camp that doesn't mind it at all and feel it adds to the tragedy of the story as well as neatly providing an external representation of the struggle between Jekyll and Hyde, one camp (who tend to be staunch fans of the book) that hates the idea of either Jekyll ''or'' Hyde having anything resembling a love interest and feel the time spent on the women singing power ballad after power ballad would have been better spent further exploring the struggle between Jekyll and Hyde, and [[TakeAThirdOption one camp]] who, while appreciating the fact that both Lucy and Lisa/Emma are interesting characters in their own right as well as providing roles for two women in what would otherwise be an entirely male main cast, dislike how much attention is given to the romances in the post-Broadway versions as opposed to the more balanced take in the earlier concept albums.


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* FirstInstallmentWins: While each version of the show has its fans, most agree that the early pre-Broadway concept albums with Colm Wilkinson and especially the full album with Anthony Warlow are probably the best, for reasons ranging from the story focusing much more on the relationship between Jekyll and Hyde and all it represents rather than on the love triangle that dominates the later versions, Simon Stride being more fleshed out as a secondary antagonist, the orchestrations fitting the Gothic tone of the story as opposed to the more 90s pop/2000s rock orchestrations that appeared on Broadway, and the sheer amount of passion each performer brings to their roles (as well as Wilkinson and Warlow both having the singing and acting chops to pull off the switch between Jekyll and Hyde perfectly even without visuals).
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* AwardSnub:
** Robert Cuccioli's hugely praised leading performance in one of Broadway's most difficult roles won the precursor awards but ultimately lost the Tony to James Naughton in ''{{Theatre/Chicago}}'', who was also quite acclaimed himself, but didn't have anywhere near the showcase that Cuccioli did. Probably not helping matters is the original Broadway production had very poor reviews, while Chicago was without a doubt the musical event of the season.
** Linda Eder's work being snubbed by the Tonys also received it's share of complaints. Similar to Cuccioli, she did better at the precursors where she ''was'' nominated.
** The score was not nominated, even though it's arguably more enduring than the actual nominees of that year.


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* CantUnhearIt: Depending on who you ask, Anthony Warlow or Robert Cuccioli are the definitive Jekyll and Hyde, the former originating the part on the album, whilst the latter originated the part onstage.
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* TheyChangedItNowItSucks: The '97 Broadway production's changes--Lucy being a singer, the Spider and Gwenny supplementing Simon Stride, and the amount of cut, rearranged, or reshuffled songs from the concept albums--were fairly disliked by fans and reviewers, and subsequent productions tend to walk back the changes where permissible.

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