Jekyll and Hyde

The Victorian era was one of internal struggle for its people. Industrialisation brought great change and a widening gap between rich and poor. The idea of ‘duality’ crept into much writing of the period - the concept of division of personality whilst still being one. Robert Louis Stevenson’s novel, The Strange Case of Dr Jekyll and Mr Hyde, written in 1886, addresses this battle between good and evil. The need for there to be a social façade to keep up appearances of being ‘good’ amongst the aristocrats, whilst dabbling in other “secretly sinful” pursuits is the social commentary of the novel. It contrasts the uncontrollable desires and ego within us with the desire to be good.

The musical version of Jekyll and Hyde was written in 1990, with music by Frank Wildhorn, and a book and lyrics by Leslie Bricusse. It is a dark, brooding musical with lyrics and score that sear into the soul. The Hills Musical Company has done this show proud! Captivating in every aspect, the story leaps to life as we watch Jekyll and (metaphorically), London society of the time, spiralling out of control. Opening with the wonderful line “In each of us there are two natures,” Jekyll captures our attention immediately.

Ben Stefanoff (Director) and Kristen Stefanoff (Musical Director) have chosen to emphasise the industrial nature of the period in a clever steam punk style. The set, costumes and lighting evoke the era and cleverly purvey the contrasting gloomy mood in the dark world of Camden town, to the mirror image of polite society London. The cast that has been assembled is stellar. There is not one weak link in this machine - every cog (pardon the metaphor) turns perfectly - leads, ensemble and the fast-moving slick crew. This show is a triumph for the Hills Musical Company and it is difficult to break all elements down to discuss, as it is a wonderfully holistic piece of work.

One cannot begin to comment on Jekyll and Hyde without immediately addressing the outstanding performance by its leading man. Daniel Hamilton epitomises the sweet, polite Dr Jekyll for most of Act One, engaged to be married to the beautiful Emma Carew (Emily Morris), but secretly tortured by the desire to rid the world of evil. I found it hard to believe at this stage that this wonderful performer could transform to be Mr Hyde, so crystalline were his words and so beautiful his voice. It was in his transformation that the true talents of Hamilton appeared. No prosthetics, no real costume changes, barring a cane, he is enveloped by Hyde and his physicality and vocals change accordingly. His performance of “This is the moment” and in Act 2, his stunning switching between the two characters in “The confrontation” were sheer genius.

Emily Harris was the perfect Emma. Her superb soprano voice rang out in the theatre like a bell. Her portrayal of the innocence being tortured in her love for Jekyll down to the tragic ending were perfect. We felt for her and revelled in her pitch perfect notes. The duet between Jekyll and her character “Take me as I am” was a highlight.

Aside from the obviously brilliant performance by Daniel Hamilton, there was another Hamilton who stole much of the show. Sarah Hamilton, portraying Lucy Harris, was excellent. Bawdy, sensual, and with a voice and belt perfectly suited to the role, she had the audience completely with her, from first appearance on stage in the Red Rat bar in Camden. Her chemistry with Jekyll/ Hyde was obvious from the start (one would hope so as these two are married) and her acting superb, as she writhed and succumbed to Hyde’s desires.

Nic Equid as Utterson, Jekyll’s friend, brought compassion and a lens through which we try to understand Jekyll. His performance was solid and his vocals strong. Matthew Owens as Sir Danvers Carew was the epitome of the doting father to Emma and his duet “Letting Go” with her was moving.

The rest of the cast likewise were wonderful, and the ensemble one of the strongest I have seen in Adelaide amateur theatre.

Directorially, Stefanoff has made excellent choices - clever staging, casting and smooth transitions between scenes kept the momentum and pace. Kristen Stefanoff as musical director has assembled a stunning 14-piece orchestra (which felt at times like 40), with strong use of horns and bass guitar to keep the dark mood. She is truly a talented conductor.
The choreography by Mark Stefanoff and Emily-Jo Davidson was a highlight of the show - sharp, slick and utilising the stage well. I particularly enjoyed the syncopated canon movements used to keep momentum.

The costumes, designed by Ben and Kristen Stefanoff and their costuming team were a triumph. Clever use of themed colours, period perfect and steam punk designs brough the show to life. Kudos.

Whilst the clever set with a ‘cogs and clocks’ theme nailed the era, and the various levels gave it realism, it was the lighting (designed by Tim Bates) that gave breath to what could have been a sombre, gothic piece. Use of coloured cyclorama to denote location and mood was clever, as was the brilliance of capturing cast members in narrow haze-filled beams of light for more focused moments. Hats off to the lighting operator and stage manager for the swift changes in “The Confrontation”!

Ben Stefanoff has an absolute hit on his hands as he ekes every element from his performers and staging. He captures the essence of Stevenson’s book, Wildham’s score and the true nature of Victorian London. On opening night, the audience were delighted, haunted, jarred and moved in so many ways.

Take the time to drive up to the hills to see Jekyll and Hyde!

Shelley Hampton

Photographer: Daniel Salmond