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22 October 2024
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3***
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Robert Louis Stephenson’s 1886 gothic novel has been the subject of discussion; literary, scientific and psychological, for many years; the story of the duo personality continues to thrill. Adapted for the stage most famously by the actor Richard Mansfield, it caused such a stir it closed the theatre. Films, TV versions and stage musicals have followed.
Adaptations are always tricky to navigate for a writer; what works on the page may not succeed on the stage; Andrew Hobbs and David Hobbs have been careful to keep the full spirit of the novel while developing a script which pares down the number of characters and provides some female roles in a male dominated story.
The tiny stage area of the black box Bridge House Theatre offers a rather claustrophobic atmosphere which is augmented by the use of haze and an excellent lighting plot. It is ideal for the story in question.
The story is lucid and well told by a cast of seven, though the sometimes, rather flowery Victorian language does clash with phrases such as “I can work with that”, which jars. The production has recently toured outdoor venues and bringing it to such a small space is not without its issues; the opening scenes feel very static as the story unfolds; with audience on three sides, more movement keeps the attention as well as offer a better view of the action. That said, when the action ramps up, it certainly does.
Paul Winterford, quite literally at times, throws himself into the dual roles of Dr Jekyll and Mr Hyde; it is a compelling performance of great power and physicality. When he ingests the potion to switch from one persona to another it is done with bodily and facial contortions as he vocalises the pain which he suffers as a result; no special effects needed.
The central storyteller of the novel is the young lawyer Gabriel Utterson, played with some dash and poise by the very talented Tom Thornhill who has an excellent vocal range and stage presence which engages the audience from the off. Megan Carter, as Cordelia Carew, provides a sympathetic victim of Mr Hyde’s crimes, though her voice just felt a little too monotone and needed some variation.
Jessamy James delivers her speech on the death of Dr Danvers Carew with an almost bloodthirsty joy; it’s a real highlight. The butler of the novel, becomes the housekeeper, Mrs Poole, and is presented as a bit of light comic relief by Meghan Louise Taylor. Simon Willshire and Maximiliian L’Olive play a variety of characters effectively enough.
Original music, written by Alistair Smith plays throughout and, in the main, works well; at times it didn’t create the underscoring atmosphere that might have been expected – maybe more use of atonal music might have been more effective.
The simple set of a table with various chemical accoutrements on it is all that is needed, but when the audience is so close, the use of plastic is very obvious, as is a very modern folding chair. Likewise, some ill-fitting and very crumpled costumes detract from the obvious care taken with other parts of the production. These elements are so easily remedied, but sadly, do let the production down.
In the main this is a good production of a challenging story and the crescendo to the ‘transformations’ and the climax of the story are well managed by the cast and director Andrew Hobbs. As a re-telling of a famous story, this is fun and enjoyable but needs some extra attention to detail which would elevate the show as a whole.
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Cast
Paul Winterford – Dr Jekyll & Mr Hyde
Megan Carter – Cordelia Carew
Tom Thornhill – Gabriel Utterson
Maximillian L’Olive – Inspector Newcomen, Postman
Simon Willshire – Vicar, Dr Lanyon, Chemist, Policeman
Jessamy James – Elsie Baker, Woman
Meghan Louise Taylor – Mrs Poole
Creatives
Writers – Robert Louis Stephenson
Adaptation – Andrew Hobbs & David Hobbs
Director – Andrew Hobbs
Original Music – Alistair Smith
Costume Designer – Amanda Beauchamp
Lighting Designer – Matthew Karmios
Photo Credit – Tom Godber
