The conceit of Jekyll transforming to Hyde by throwing his hair in his face only causes one to worry that he'll develop whiplash, particularly in the unintentionally camp duet he sings with himself, a number that resembles nothing so much as a skit from Second City TV.
The creation of a 19th century bi-sexual brothel cum cabaret room where the Eder character plies her trade (alongside a bevy of Chelsea boys) must have been inspired by a weekend spent with a bag of particularly poor quality cocaine. That has to do with the terrible Broadway staging, not the writing. As for the songs, I love the following:
I Need to Know
Facade
Board of Governors
Bring on the Men
This is the Moment
Alive
His Work and Nothing More
Sympathy, Tenderness
Someone Like You
In His Eyes
The Girls of the Night
Once Upon a Dream
A New Life
Confrontation
I don't believe all the songs are elementary and maudlin. I actually find the mournful simplicity of Sympathy, Tenderness to be quite mature. And while I get that purists are not fans of pop power ballads, there is actually a lot more than that in the score once you get past the bias of the composer's name.
But, ok. I guess I feel the way about Lippa most people feel about Wildhorn. I just think Wildhorn has written a MUCH greater number of memorable tunes. To me, Lippa is far more generic in style and completely forgettable.
"What can you expect from a bunch of seitan worshippers?" - Reginald Tresilian