Photography credit: Tom Godber

‘Paul Winterford’s central performance is riveting’ ★★★ ½

Let me come clean. I have never liked Robert Louis Stephenson’s 1886 novel and the many adaptations I’ve seen over the years have done little to change that. Of course I understand that it’s a philosophical exploration of the “profound duplicity” of human nature but, on an entirely personal level, I struggle to relate to anything remotely fantastical. I have exactly the same issues with Frankenstein.

That said, this British Touring Shakespeare production is as decent a crack at the old chestnut as I’ve seen anywhere. Adapted by David Hobbs (who also directs) and Andrew Hobbs, it is remarkably faithful to the novel and much of the dialogue is pure Stephenson. The trouble with that is that it sometimes feels slightly stilted for a 21^st century audience, especially in the first act. However, it is good to see it done firmly in period for once, rather than pulled in “topical” directions.

Paul Winterford’s central performance is pretty riveting. He gives us a deliberately understated Jekyll, tossing a coin and ruminating. The first transformation scene, when it comes – all stage smoke and coloured lighting – meets all gothically dramatic expectations. Winterford writhes, yells, goes into paroxysm and exudes amoral malice and terror.

Tom Thornhill as Utterson and Megan Carter as Cordelia Carew make a good fist of presenting the contrasting reality as they gradually discover and reveal the horror of Jekyll’s dual personality. They are rather good at flagging up the gently developing affection between them too.

Among the support cast, Maximillian L’Olive excels as the gravelly rough-at-the-edges but punctiliously conscientious Inspector Newcomen. And I’d like to have seen more of Jessamy James who plays Elsie Baker the woman who witnesses Hyde murdering Carew. I’ve seen her at work before and she’s an intelligently sensitive actor. I see no sense, however in making the housekeeper Mrs Poole (Meghan Louise Taylor) into a comic character. Taylor is quite good at it but it feels incongruous in what is actually quite a serious piece.

Underneath all this is Alistair Smith’s original, atmospheric music: mostly piano music in the Victorian “salon” style, it works well.

It’s a patchy production – some of the acting is a bit wooden and then it feels wordy – but there are definitely things here to enjoy, whether or not the concept is your cup or tea.

THE STRANGE CASE OF DR JEKYLL AND MR HYDE Facscimile Productions, British Touring Shakespeare

Directed by Andrew Hobbs

Bridge House Theatre, Penge

Box Office https://thebridgehousetheatre.co.uk/shows/the-strange-case-of-dr-jekyll-mr-hyde/