JEKYLL AND HYDE

BOC’s production was a large scale affair with chorus of over forty singers. They were a superbly engaged ensemble and it was pleasing to see people who regularly take principal roles among them. The show has many named roles but some don’t last for long as Mr Hyde pursued his murderous path. The Board of Governors of St Judes Hospital - The Bishop of Basingstoke (Keith Pyper), Lady Beaconsfield (Debbie West), Sir Archibold Proops (Hall Graham), Lord Savage (Ian McMaster) and General Lord Glossop (David Magowan) all played their superior and hypocritical roles with aplomb, and accents to match – and each met their end in appropriate manner. Secretary Simon Stride and Sir Danvers Carew were the only ones not to vote against Dr Jekyll’s proposal to test a new drug. The latter - father of Jekyll’s fiancé Emma - was capably played by Iain Mercer and treated us to a fine baritone voice. Martin Bannon (manservant Poole) and Darryl Bowden (Stride)  took their roles in unassuming manner and David Mehaffey turned up as a very convincing minister of the church, amongst other parts! Mark Leeman was a sinister Spider – pimp of the ‘ladies’at the “Red Rat” including Lucy Harris who developed a relationship with Jekyll and then with Hyde. Emma Martin was a lively Lucy who could turn from strong to fearful to sensitive in a moment. She sang beautifully, blending well with Alice Johnston as Emma Carew. Alice was an assured actress, conveying her struggle between love of Henry Jekyll, worry at his experiments and what he had become. Her soprano voice was very beautiful. Joff Manning gave a sympathetic performance as loyal friend of Jekyll, Gabriel Utterson. He was always measured in his acting and thoroughly credible.

Of course, this show succeeds or fails on the role of Jekyll/Hyde. Karl McGuckin took on the challenge and won.

His wonderful baritone voice delighted the audience although sometimes I felt he was holding back a little on the power – such as at the climax of “This is the Moment”. He put plenty of energy into the changing character of the role and particularly impressed in “Confrontation”. A real tour-de-force.

The permanent set with entrances and doors, stairs stage left and right leading to an upper level was enveloped in darkness most of the time giving that mysterious impression. Lighting by ACK Productions was superb with wonderful colours caught in the rays of the spotlights. Almost constant dry ice added to the sinister atmosphere of the piece. A raked stage was laid on top of the permanent floor, which contained runners to allow Jekyll’s laboratory to suddenly appear from the gloom. Real flames, which were sometimes emitted from table burners, were very effective. Costumes from Triple C were beautiful and authentic - apart from Lucy’s ‘ringmaster’ costume for her first appearance. Wigs were worn by a majority of the cast, male and female, and added authenticity. Karl managed to change back and forward between Jekyll and Hyde in “Confrontation” by a turn of his head, with wig tied back (J) and other side dishevelled (H). Cleverly handled.

The 20 piece orchestra under the baton of Colin Scott made a great sound but often overpowered the dialogue and singing on stage. Timothy Bell moved the huge cast with expertise – particularly noticeable in the fabulous opening number “Façade”. Wilfie Pyper’s direction was well conceived and rehearsed, totally strong and confident.

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