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The Strange Case Of Jekyll & Hyde

Jack Studio Theatre

Reviewed – 5th September 2019

★★★★★

“an incredibly well thought out piece of theatre that grips and entertains the whole way through”

It is not hard to imagine the themes of Jekyll and Hyde transplanting themselves into the present day – science going too far, people struggling with their inner demons – and, indeed, The Strange Case of Jekyll and Hyde merges these so perfectly with the 21st century, it almost makes you question why it hasn’t been done before. Whether it is good vs evil, love vs hate, or Republicans vs Democrats, nothing is off limits in this clever and compelling take on Robert Louis Stevenson’s classic novel.

Set in an approximation of present day America, against the backdrop of a Trump impeachment, an avalanche of mass shootings, and mounting political tensions, this production not only offers up Gothic drama but infuses it with a modern and bitter poignancy. Although viewers are most likely familiar with the original twist of the novel, the play begins by throwing out scattered new pieces of mystery. The book’s sincere narrator Gabriel Utterson becomes troubled anti-heroine Gabrielle Utterson (Lucy Ioannou), a woman with dark secrets lurking behind her eyeliner-bedecked eyes. Taking on the role of journalist, she seeks to piece together the link between charismatic mayor Henry Jekyll (Will Pinchin), and villain Hyde (Christopher Tester). Why is the same Hyde seen assaulting a minor, shown just four years ago to be an affable schoolteacher in a relationship with Jekyll? As she becomes drawn closer into Jekyll’s world as his Presidential campaign manager, both the story and her unhealthy personal involvement only deepens.

A cast of characters support the main trio. Sex worker Imogen Poole (Gabrielle Nellis-Pain) turns from witness to Hyde’s horrors to Utterson’s love interest in a satisfying character arc. And scientist Hayley Lanyon (Charlie Ryall) pops up now and again to give insights on Jekyll’s scientific past. All in all, there are exceptional performances from every member of the cast. The script naturally gives Pinchin the most time to shine, but Nellis-Pain’s understated portrayal of what could have easily been a background character is also incredibly strong.

Each character also feels well-grounded in reality. Writer and director Ross McGregor has done well fleshing out the ideas of the novel, and a rich script keeps the cast well supplied with material, from quick ripostes that are both smart and searingly relevant, to high-stakes political debates, and soul-searching monologues. Credit must go also go to costume design (Bryony J. Thompson) for making Jekyll look so much like a Kennedy, and for Utterson’s wonderfully Victorian ensemble – a stylish homage to the story’s home era.

Despite the realism of the setting, the production still retains elements of Gothic spectacle, and it’s these two strands together that make it such a brilliant, bold, and unforgettable performance. Both the lighting (Anna Reddyhoff) and set design (Charlotte Cooke) work hand in hand to magnify the drama – with, eerie red, blue, and fluorescent lights, and a partly-transparent screen (a visual representation of many of the play’s themes) used to great effect. And the sound (Alistair Lax) heightens the drama in all the right places.

The final result is an incredibly well thought out piece of theatre that grips and entertains the whole way through.

Reviewed by Vicky Richards

Photography by Davor Tovarlaza

The Strange Case Of Jekyll & Hyde

Jack Studio Theatre until 28th September

Last ten shows reviewed at this venue:

Radiant Vermin | ★★★★ | November 2018

Sweet Like Chocolate Boy | ★★★★★ | November 2018

Cinderella | ★★★ | December 2018

Gentleman Jack | ★★★★ | January 2019

As A Man Grows Younger | ★★★ | February 2019

Footfalls And Play | ★★★★★ | February 2019

The Silence Of Snow | ★★★ | March 2019

Queen Of The Mist | ★★★½ | April 2019

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★★★★

“The charisma and talent of each performer is beyond doubt”

The Starship Osiris looks from the start to be a play handcrafted from amateurism – from the badly-painted office chair that serves as the Captain’s helm, to the far-from-space-age computer effects on the screen behind. But for overbearing actor George Vere, it is his masterpiece. The rest of the cast will just have to put up with it, and him. So begins a production that is unapologetically silly and joyful, and a welcome addition to “The Play That Goes Wrong” genre.

At first, the show is pure and delightful sci-fi pastiche. Each scene bounds gleefully into one trope after the next; the script offering up vague mentions of “space years”, unpronounceable planets, and ridiculous aliens with pitch perfect timing. The perky Starettes (Molly Bird, Lola Claire, and Jo McGarry) dance adoringly around their captain (obviously Vere himself), whilst he engulfs the stage either narrating his own virtues or criticising lowly mechanic Evans (a great performance from Adam Willis). As enemies threaten the starship, surprise, surprise, it is only Captain Harrison’s poorly-choreographed punching (surely a homage to Star Trek’s Kirk) that can save the day. But the rest of the cast are only just getting started.

It’s hard not to laugh at Evans’ increasingly blank-faced delivery of lines and the other cast members’ underwhelming interactions with low-budget props (bin bags, tents, and blankets all working their hardest as galactic phenomena in this production). As the space shenanigans grow more extravagant, one by one each performer abandons gusto for their roles with some wonderfully subtle acting worth watching out for. But it is when Evans’ finally breaks character and picks a fight with Vere that the play truly runs riot, veering off into a realm where the audience is left wondering what on Earth – or in space – will happen now.

The script, a collaboration between George Vere and Adam Willis, is packed with infectious humour, but it would be nothing without the actors, who are the bright stars of the show. The charisma and talent of each performer is beyond doubt. They play their dual roles with perfect precision and are a delight to watch, although the script does give some more time to shine than others.

The costumes work well as obviously low-budget Star Trek, although Vere’s dramatic prancing about in his leggings is reminiscent more of David Bowie in Labyrinth than any of the stiff, stoic captains of the sci-fi golden era. Other elements add little touches that enhance the ridiculous atmosphere further, including a few clichéd songs featuring a deadpan keyboardist (Ian Coulter) and the introduction of the technician (Alex Wells-King) as part of the play. Even the staging is self-consciously goofy, but there is some smart choreography in the scenes towards the end, showing that, really, the actors know what they are doing.

While there is much here for both mainstream viewers and sci-fi fans to enjoy, there did seem to be some “space” for a few more jokes, especially in the latter half of the play. And the high-energy intensity of the show may not be for everyone. But, with a host of accolades from its 2017 fringe run already under its belt, The Starship Osiris has clearly tickled the minds of many. All in all, it ends up a charming theatrical romp – giggle-worthy from start to finish.

Reviewed by Vicky Richards

Image courtesy Willis & Vere

Jack Studio Theatre

Reviewed – 5th September 2019

★★★★★

“an incredibly well thought out piece of theatre that grips and entertains the whole way through”

The final result is an incredibly well thought out piece of theatre that grips and entertains the whole way through.

Reviewed by Vicky Richards

Photography by Davor Tovarlaza

The Strange Case Of Jekyll & Hyde

Jack Studio Theatre until 28th September

Last ten shows reviewed at this venue:

Soho Theatre

Reviewed – 7th August 2019

★★★★

“The charisma and talent of each performer is beyond doubt”

Reviewed by Vicky Richards

Image courtesy Willis & Vere

The Starship Osiris

Soho Theatre until 10th August

Previously reviewed at this venue: