“I had now two characters as well as two appearances, one was wholly evil…” Thus states Dr. Henry Jekyll of his alter ego, Edward Hyde, in Robert Louis Stevenson’s Victorian novella “The Strange Case of Dr. Jekyll and Mr. Hyde.” Jekyll, of course, tried to separate the good-evil dichotomy of man into two separate parts—the stimulus for the 1990’s musical “Jekyll and Hyde,” currently playing in an excellent stage production wonderfully directed by Jennifer Hardin at the Little Theatre of Alexandra, Virginia.

The musical’s plot in some ways expands the narrative of the classic novella as Dr. Jekyll presents an interesting proposal to a Board of Governors to “divide” the human being into two separate entities: good and evil. This proposal is summarily rejected. Despite pleas to abandon this eccentric project by his lawyer friend Utterson (Matt Yinger performs the “dual” role of lawyer and friend with aplomb), Dr. Jekyll injects the serum into himself, leading to horrific consequences as the evil Mr. Hyde emerges.F

The transformation scene is so effective that even the cast cannot fail to be deeply moved by it. Dani Lock, who plays one of the Red Rat Girls encountered by Dr. Jekyll during his adventures, has this to say: “Our Jekyll/Hyde actor Michael E. McGovern changes his physicality, vocals, and everything about himself to differentiate the two characters in the process of transforming from one into the other. It is as if he totally changes into a different person! He uses his acting abilities to portray how both characters feel, think, and behave. It is truly spooky to see, even from the actors’ side of the stage.”

Actor McGovern not only acts out two vastly different characters, but he is also able to swing back and forth between two vocal styles, from the smooth romantic singing of Dr. Jekyll to the hoarse, grunting singing of Mr. Hyde. The song “Confrontation” in particular showcases his dualistic vocal abilities and acting prowess.

Here it is worth noting that the lower-class Red Rat Girls—one of whom, Lucy (an excellent Lexi Mellott), becomes close to Dr. Jekyll (and Mr. Hyde!)—represent one class of society while Jekyll’s upper-class bride-to-be Emma Carew (an earnest Shelby Young) represents another. Members of all social classes are presented as foisting upon others and themselves a deceptive “Façade,” one of the many unison pieces which is outstanding in this production. “Façade” is reprised at several points, including by the character of Spider (especially sinister in the evocative enactment of Jae Damauier), who sets the mood of the menacing mystery of night. Dani of the Red Rat Girls reminds us that “the lyrics of ‘Façade’ change based on what happens in the story,” so audience members should pay close attention to these moments.

“Bring on the Men” is sung emotively by Lucy with the Red Rat Girls. This scene and others will remind the veteran theatre goer of scenes with the Kit Kat Klub girls in the musical “Cabaret,” both in terms of texture of the music as well as in the stunning choreography, provided by Stefan Sittig. The orchestra is superb in balancing out the scenes with sonorous, melodic music with occasionally dissonant, energetic rhythmic patterns. In Act 2’s song “Murder, Murder,” the orchestra, group singing, and staging combine brilliantly to accompany suspenseful vignettes as Hyde shows his violent, murderous side. (One caveat: the scary, stylized on-stage murders, however, would not render this show a good choice for Halloween entertainment for small children.)

The set design of Lawrence (Skip) Gresko is highly effective, alternating between scenes of the night club, Dr. Jekyll’s scientific lair (with its Gothic pointed windows), and noir street scenes. The set is cleverly divided for fast-moving plot changes between upper and lower levels. Part of the orchestra (conducted well by Mark V. Deal) can be seen by the audience, and at times the orchestra presents an “on-stage” presence at the club where the Red Rat Girls perform.

If you find yourself, like Dr. Jekyll, “Lost in the Darkness” and in “need to know the nature of the demon that possesses man,” the Little Theatre of Alexandria’s production of “Jekyll and Hyde,” which runs through November 9, offers a “transformative” experience.