Jekyll & Hyde

Jekyll & Hyde
Conceived for the stage by Steve Cuden and Frank Wildhorn. Book and lyrics by Leslie Bricusse. Music: Frank Wildhorn. Willoughby Theatre Company. The Theatre on The Concourse, Chatswood (NSW). Director: Craig Stewart. Musical Director: Peter Hayward. Choreographer: Sarah Friedrich. April 13 – 22, 2012.

Break a leg! Almost, but not quite!

Leading man Mikey Hart dropped a water tank on his toe, breaking it. Still, in the best thespian tradition, the show went on.

I’d assumed that the walking stick and limp was part of his excellent characterisation of Dr Jekyll. Necessity being the mother of invention, it fitted with a physically weaker Jekyll asserting himself in a struggle of the wills with his brutal alter ego Mr Hyde. In this case, the roles had been split, with Peter Meredith playing Hyde.

Hart gives an impressive interpretation of the virtuous side, doing battle with the evil side, which his experimentation releases. Vocally he meets all the challenges of the score, while his characterisation is intense and believable. He also ensures the show’s best-known song ‘This is the Moment’ is a showstopper.

In Willoughby’s production, an ambiguously near futuristic world influenced by Mad Max, or is it Matrix, or Blade Runner, meets Robert Louis Stevenson. The set evokes something between stark institutional sterility and a slaughterhouse, enhanced by effective lighting of its translucent surfaces. Striking visuals are completed by Joy Sweeney’s costumes, particularly the more Gothic elements (and accompanying make-up). Choreography by Sarah Friedrich complements the visuals – especially the more in-your-face, urgent and aggressive movement elements, put across with attitude to spare by a highly focused, well drilled ensemble.

Splitting the role of Jekyll from Hyde, originally both written for one performer, leaves the darker alter ego with a much smaller, less satisfying role.

On a two-level set, director Craig Stewart’s split-level status approach to the split personalities (and split casting) emphasises the alternate ascendancy of the dark or light side; Hyde stalking around raised platform when Jekyll is in control, Jekyll a concerned bystander when Hyde is to the fore, and moments of direct confrontation on the platform when the boundary becomes blurred.

With Hyde being a much smaller role, it really is vital that its performance equals that of the good doctor. This was the one real disappointment when I attended. Peter Meredith’s vocals were muddied and hard to understand in songs – I was uncertain whether to put it down to diction, or a microphone issue. It was a disappointing contrast with the impeccable presentation of Hart’s Jekyll.

Back to this production’s many strengths, though, and the two splendid leading ladies, American newcomer Kimberly Jensen as Lucy and Louise Symes as Emma. While Lucy represents a darker forbidden sensuality, probably more emphatic in the show’s original Victorian period, Jensen gave her a warm, sympathetic realisation, avoiding the blatant and overtly tartish, nailing the role’s vocals. Particularly pure and virtuous, Emma is still a strong independent thinker, providing Louise Symes with enough of the modern woman to deliver a sufficiently engaging, contemporary portrayal in tandem with her splendid vocal performance. When the two women combine for the second act duet ‘In His Eyes’ it's a spine-tingling highlight.

In the principal supporting roles, Andrew Symes brings warmth and sincerity to Jekyll’s devoted friend John Utterson, while Tom Sweeney is a credibly manipulative Sir Danvers Carew. In fact, all round, Jekyll and Hyde features a strong, well-balanced supporting cast, many of whom are required to pull of convincing deaths at the hands of the murderous Hyde.

Special credit must go to the stage management and crew for the fluidity with which the complex scenic design, and hence the show, flows. Musically, Peter Hayward and his orchestra were in top form.

With Craig Stewart’s futuristic setting, I was left with one small query – surely the news of Hyde’s murders would be discovered on new media - an iPad or mobile, not old media newspapers. A rare missed opportunity in a smart, well-conceived production.

Neil Litchfield

Photographer: Grant Leslie.

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