Of the three songs to only appear on the very first Jekyll and Hyde concept album, this is easily the best of the three. It’s an ecstatic, anthemic ballad of epic proportions and features some of the most ravishing music Frank Wildhorn ever wrote. That said, I understand why it was not used in later productions. Presumably it fit better into the plot of the show’s early drafts, but there is no point in either the Broadway version of Jekyll and Hyde, or the version heard on the second concept album, at which it would make any sense. It’s sung to someone that Jekyll has apparently just met, so it was clearly meant to be addressed to Lucy rather than Lisa/Emma, and in all the later drafts of the show Jekyll simply does not care about Lucy even remotely enough to sing her this kind of rhapsodic love song. It sounds incredible as, essentially, a Pop song on that first album (which was basically a Pop album to begin with), but it simply doesn’t have a place in any of the more current versions of the show.
This was originally the Act Two opening for Spring Awakening, returning to the scene after Melchior and Wendla have sex. It’s actually one of the very finest songs written for the show…in the early, pre-Broadway productions, critics routinely singled it out as a highlight, or even the highlight, of the show. The reason it was cut is that the lyrics, while actually better written than most of the show’s lyrical material, are built on a very obscure metaphor for the situation onstage (to clarify, Melchior is the ‘pirate’ in the song, and Wendla is the ‘maiden’). So while it does actually have a concrete connection to the dramatic situation, audiences tended to be confused by the opaque lyrics, so the song was replaced by “The Guilty Ones”, which is almost as lovely a song, so it isn’t too much of a loss. Instead of employing a metaphorical narrative, the new song addressed the feelings of shame and uncertainty that the two lovers were feeling directly (well, as directly as Spring Awakening‘s lyrics ever address anything, which admittedly isn’t very).
I wouldn’t consider the songs on the second Jekyll and Hyde concept album that didn’t make it into the Broadway production ‘cut songs’ in the classic sense of the term, since that album’s version of the material is widely considered superior to the later versions and makes up many people’s primary experience of the show. However, the three songs that were only included on the first concept album, which consisted solely of Colm Wilkinson and Linda Eder sampling a few of the songs for Jekyll and the female leads, are a different story. This song was reportedly intended, in the earliest stages of the show’s writing, to be the centerpiece of the entire score, and while it is very pretty in a frothy, lightweight way, as a centerpiece it would have been rather underwhelming. Moreover, the song that replaced it, “Take Me As I Am”, is both prettier and has more dramatic weight, as well as having far more to do with the show’s actual story, so I don’t think we missed out on too much with this one.