This week, Sale's Waterside theatre is home to Sale And Altrincham Musical Theatre Society as they present their version of Frank Wildhorn's emotive Musical, Jekyll And Hyde. This was the third time I have seen this musical performed, and was certainly the most striking and ambitious so far. Naturally the musical tells the story - through Leslie Briscusse's fine lyrics - of the infamous Robert Louis Stevenson novel, of the scientist (Jekyll) who creates a formula to seperate the 'good' and the 'evil' of mans' personality in the hope of not only curing his ailing father but for the good of mankind in general. However, without a guinea-pig to test his formula on, he uses himself, and finds that it eradicates all 'good' leaving only pure 'evil' in the form of Hyde.
The first thing you notice about this production is the boldness of it. Director Martyn Preston has dispensed with the 'traditional' style set / scenery and in its place is a labyrinth of silver steel stairs, walkways and platforms with some creative lighting effects. The costumes too do not specifically belong to any one historical period, as majority of the chorus were dressed in quasi-Victorian garb of different decades, whilst the principal women were given mostly quasi-early Edwardian / late Victorian and the male leads had 20th century / modern day suits. The small items of set brought in for each scene (in front of the metal paraphenalia) were mostly of the correct period of the setting of the novel, except every now and again something far more modern would also be seen - such as Lucy's bed for example. This strange mixing of eras and styles was odd to say the least; it was a bold statement, which probably says that this story is a universal and timeless one, and so shouldn't necessarily be confimed to one specific moment in time.
This is a society that has very high production values and aims to bring out the very best from every section of the team, that much is clear. A small band, unseen, at the rear of the stage, under the direction of John C Barry was in fine form, whilst the stage management team managed to execute the scene changes necessary ever so quietly whilst the acting / singing was taking place around them. the lighting was imaginative and striking, with good use of haze; and the sound levels were constant and not too loud throughout.
This is a muiscal however that rises or falls on mostly just one performer. The role of Jekyll / Hyde is not an easy one by any means, and many a professional would shrink at the thought of it. The role requires two completely different personas and to change at lightening speed between them, as well as being on stage most of the time, and having the most dialogue and the most songs! Ian Curan stepped up to this challenge and delivered by the bucket-load. His Dr. Jekyll was polite, mild-mannered, quiet and unruffled - the perfect Victorian society gent, and to watch his transformation was quite harrowing - only to find that even you, as an audience member were actually quite scared by what he metamorphoses into. Using only body language and vocal change, Hyde is a lascivious, hunch-backed devil, which is not at all a caricature or over-the-top, but firmly rooted and dangerous. His solo towards the end of the second act where he confronts himself as the two characters was superb!
Playing opposite him were two sopranos; first his fiancee Emma Carew (Francesca Bowman) who showed genuine love and compossion for a man she really did not fully comprehend, whilst the darker side of Jekyll's personality, especially when given full reign as Hyde appealed greatly to the erotic and sexually dangerous side of Lucy, a prostitute whom Jekyll recognises something in, and even perhaps loves. This role was performed by the diminumtive Elizabeth Lovelady, who, despite her stature, had a powerful and sonorous voice, and gave an impassioned and sympathetic portrayal. These three protagonists were further augmented by smaller principal roles, all of whom conveyed their characters' emotions and/or prejudices with aplomb, always staying within the bounds of reality and acceptability.
A large chorus (split in to three distinct groups of 'posh', 'poor' and 'prostitutes') came on at various times throughout to fill-out the street-scapes, and their choral songs, of which there are not that many in this show, were sung excellently. A very clear, well-enucnicated, and nicely pitched sound came from the chorus who displayed a lovely range of voices when singing in harmony.
Overall, this award-winning society have more than proved their worth with this production, and it is easy to see why they are winners; not afraid to stand up and be counted, doing something a little different, pushing the envelope just a little more than most societies are prepared to do, and produing a musical which many would simply shy away from due to the subject matter alone, never mind the tour-de-force performer needed for the title role. For all of this they should be hugely commended, even if, on a purely personal note, I found the juxtaposition between modern and era-specific rather jarring.
A striking, bold and stylised production which simply needs to be seen!
Reviewer - Matthew Dougall
on - 1/5/19
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