Jekyll & Hyde

A dark and gloomy looking stage was the setting for the start of this
musical. The story of a man’s struggle to discover how man can be both
good and evil, and attempt to prise the two apart. However, the
Colchester Operatic version split the role of Jekyll and Hyde, a somewhat
controversial decision that changed the inner battle to a more literal battle
between two physical bodies. Thomas Pleasant played Dr Jekyll, the
scientist, determined and passionate. We could see the struggle he faced,
the fear and doubt as he progressed through the show. His change into Mr
Hyde, played by Olly Medlicott was tastefully done in most instances,
using the mirror as the gateway. The actors both tackled the roles well and
gave strong performances. Thomas’ voice particularly shone in This Is the
Moment.

Emma, played by Leanne Field, gave us the caring and supportive wife to
be that we would expect; and her relationship with Jekyll was warm and
believable. Leannes’s voice was showcased very well in Once upon a
Dream. Emma’s father, Sir Danvers was played by Graham Bowden, and
he delivered a good performance as the caring father, but who also
supported Jekyll in his plans.

Giulia Cipriani played Lucy Harris – she had great stage presence but
unfortunately, we lost some of what she was saying due to her attempts
at a London accent. Perhaps she could have been left with her native
accent so we could understand her more clearly? Thankfully she was still
able to deliver a strong performance as Lucy, and gave a wonderful
rendition of Someone Like You. Giulia was sassy and charismatic, but also
naïve and lost.

Sam Pilkington gave a confident performance as Utterson, always in
character and focussed on the action, Sam seemed very at home on the
stage, and in this role as Jekyll’s trusted friend.

The supporting roles were cast well, with the upper class characters giving
suitable well spoken accents, contrasting with the common accents from
the lower classes. The ensemble worked well together, and you got a
good feeling for those in the gutter, compared to the upper classes.
Everyone in the scenes looked like they were completely absorbed in the
story, constantly working their characters. Murder Murder was a good
opening to Act 2, with lots of buzz from the ensemble like you’d get from
the frantic townspeople. Bring on the Men was a strong number, with lots
going on and good vocals from both Giulia and Helen McCraw.

The murders were a little lacking in any real violence or horror, and so it
was difficult to care, and the arrival of the ‘death/death eater’ characters
was somewhat baffling. The violence and darkness of the murders didn’t
match the levels of authenticity of the dark and sexual scenes in The Red
Rat.

The lighting was fitting to the story; however, the gauze was often being
lit from behind which meant the scene changes were visible when I
assume they should have been hidden. The sound was quite loud
throughout, although the voice and band balance was always good and
mic cues were always on time. The band sounded great, led by the very
capable Geoff Osborne.

The scenery worked well for the piece, and cast made good use of the set. I was a little disappointed when the stained glass window flew out mid-way through the final scene, distracting us from the poignant moment on stage. The scene changes were slow and
noisy, and some of the entrances by the chorus were in awkward silences.

Overall there were some good individual performances and great imagery,
and clearly the vocal achievement in the show was strong.

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