M: Not to complain too much about the adaptation itself, but I think there’s a strange move to make Hyde’s attacks justifiable. He embodies emotional impulses that the hypocritical Victorian establishment, incarnated in the hospital board, doesn’t want to let free. But at this point, this makes Hyde look righteously indignant rather than evil.

K: I definitely agree with that. In the musical, Hyde becomes almost like Jekyll’s Tyler Durden.

If we don't see what happened, we must depend on what others say is the truth. But the truth isn't always visible. Does "the truth" depend on how many witnesses? Their reliability; their knowledge; their agenda?

This isn't merely The Truth's venue debut, nor its Quad Cities debut, nor its Midwestern debut. It's the show's United States debut, with Black Box co-founder and artistic director Lora Adams the first person in the U.S. to receive the rights to this critically acclaimed theatre piece.

If you’re anything like me, from the moment you step into the Prospect Park Auditorium, you’ll be swept away by the stark and rickety set that is the little village of Anatevka, and the fact that the titular Fiddler is already just chilling on the roof. You might miss Josiah Wollan initially – he kind of blends in and the set is merely backlit – but his humanity emanates from time to time in small movements ... or, at least, it did at Friday’s opening-night performance of Quad City Music Guild's Fiddler on the Roof.