REVIEW
SOUTHEND DRAMA SOCIETY present
JEKYLL AND HYDE
Dixon Studio, Palace Theatre, Westcliff on Sea
22 - 25 November 2023
SOUTHEND DRAMA SOCIETY present
JEKYLL AND HYDE
Dixon Studio, Palace Theatre, Westcliff on Sea
22 - 25 November 2023
‘We are all children of deformity and decay’
Hooray! The Dixon Studio theatre has reopened after the RAAC concrete debacle, and Southend Drama have the pleasure of being the first company to perform there. Luckily, the theatre opened in time for their planned production of Dr. Jekyll and Mr. Hyde, based on the famous gothic novella written by Robert Louis Stevenson.
In the book, Stevenson explores what happens when Dr Jekyll conducts experiments, and his dark side turns into the murderous criminal, Mr. Hyde.
The 1886 novella is memorable for its gothic scenes of monstrous violence and evil transformation. However, Bill Peel’s adaptation is obviously restricted due to the layout of the Dixon stage. The set was very simple, split-level consisting of a well-represented Victorian drawing room, and some doors for the street area. I was glad that most of the narrative took place on rostra, as any scenes on the floor area are still difficult for the packed house to see.
The play started with Jekyll (Simon Lawler) philosophising with Dr. Lanyon (Danny Pavitt) about the duality of mankind and the dark side of nature. He explained that for some people the dark side could gain the uppermost. Then when he morphs into Mr. Hyde, Bill Peel himself plays the character.
Most of the action of the story is unveiled via discussions with various characters in different houses. This means that there are many scenes, some only a few minutes long. There were some difficulties with the scene changes, but they will be slicker by the end of the run.
We only hear about the experiments from third parties, but see Hyde wandering around the streets. He appears as a Jack the Ripper character, being propositioned by two cheeky tarts, Linda Finch and Sophie Acton. He brutally stamps on a young woman and murders Sir Danvers Crew, a cameo by the director, Peter Navrat. The latter thought he would have his wicked way with Mr. Hyde and ended up meeting a sticky end.
Hyde then dominates the play and we only hear about Jekyll’s strange behaviour via friends such as Gabriel Utterson and Richard Enfield a confident performance by Dan Brent and Peter Bishop, who both have a lot of dialogue.
Simon Lawler gives a good characterisation of someone disintegrating into a broken man. A very effective scene occurred when Jekyll, obviously changing into Hyde appears at an open window. As it closed, Hyde roared into view through the glass, which took everyone by surprise. It would have been very effective, if there had been more scary moments like this.
I particularly liked the scene in the den of iniquity with the red lighting and dumb show. There we see Hyde up to no good, partying and fighting, always ready to hand over bundles of fivers as compensation. This broke up what is essentially a static play.
I was hoping that unlike in the novel, Hyde wouldn't murder the maid, as Ruby Karatziola gave an excellent performance as Irish Mary. Luckily, she survived.
Additionally, there is some very effective, dramatic original music with a touch of heavy metal composed and produced by Matt Rowe.
Bill Peel’s adaptation and Peter Navrat’s direction fully embraces melodramatic Victoriana. However, I would have liked a little more gothic horror.
The play continues :-
Thu 23 - Sat 25 Nov 2023
7.30pm, 2.30pm- tickets £14 - £16
REVIEW: JACQUEE STOROZYNSKI-TOLL
In the book, Stevenson explores what happens when Dr Jekyll conducts experiments, and his dark side turns into the murderous criminal, Mr. Hyde.
The 1886 novella is memorable for its gothic scenes of monstrous violence and evil transformation. However, Bill Peel’s adaptation is obviously restricted due to the layout of the Dixon stage. The set was very simple, split-level consisting of a well-represented Victorian drawing room, and some doors for the street area. I was glad that most of the narrative took place on rostra, as any scenes on the floor area are still difficult for the packed house to see.
The play started with Jekyll (Simon Lawler) philosophising with Dr. Lanyon (Danny Pavitt) about the duality of mankind and the dark side of nature. He explained that for some people the dark side could gain the uppermost. Then when he morphs into Mr. Hyde, Bill Peel himself plays the character.
Most of the action of the story is unveiled via discussions with various characters in different houses. This means that there are many scenes, some only a few minutes long. There were some difficulties with the scene changes, but they will be slicker by the end of the run.
We only hear about the experiments from third parties, but see Hyde wandering around the streets. He appears as a Jack the Ripper character, being propositioned by two cheeky tarts, Linda Finch and Sophie Acton. He brutally stamps on a young woman and murders Sir Danvers Crew, a cameo by the director, Peter Navrat. The latter thought he would have his wicked way with Mr. Hyde and ended up meeting a sticky end.
Hyde then dominates the play and we only hear about Jekyll’s strange behaviour via friends such as Gabriel Utterson and Richard Enfield a confident performance by Dan Brent and Peter Bishop, who both have a lot of dialogue.
Simon Lawler gives a good characterisation of someone disintegrating into a broken man. A very effective scene occurred when Jekyll, obviously changing into Hyde appears at an open window. As it closed, Hyde roared into view through the glass, which took everyone by surprise. It would have been very effective, if there had been more scary moments like this.
I particularly liked the scene in the den of iniquity with the red lighting and dumb show. There we see Hyde up to no good, partying and fighting, always ready to hand over bundles of fivers as compensation. This broke up what is essentially a static play.
I was hoping that unlike in the novel, Hyde wouldn't murder the maid, as Ruby Karatziola gave an excellent performance as Irish Mary. Luckily, she survived.
Additionally, there is some very effective, dramatic original music with a touch of heavy metal composed and produced by Matt Rowe.
Bill Peel’s adaptation and Peter Navrat’s direction fully embraces melodramatic Victoriana. However, I would have liked a little more gothic horror.
The play continues :-
Thu 23 - Sat 25 Nov 2023
7.30pm, 2.30pm- tickets £14 - £16
REVIEW: JACQUEE STOROZYNSKI-TOLL
Southend Drama Society is proud to be the first production back in the Dixon Studio since its temporary closure.
Director (and Life President) Peter Nawrat said “I have been waiting for a while to put on this re-imagining of the classic novella by Robert Louis Stevenson penned by Bill Peel.
When I first read the script, it was obvious to me that I wanted to create a certain look and atmosphere. Hopefully, I have achieved this. As regulars will know, I like to use minimal sets; relying on the strong acting skills of my cast, dramatic lighting, costume design and hard hitting music to support the action.
The original music is composed and produced by the talented Matt Rowe. Together with other tracks, which have been remixed been under his supervision.”
Strap yourselves in, as it’s going to be a bumpy ride!
Director (and Life President) Peter Nawrat said “I have been waiting for a while to put on this re-imagining of the classic novella by Robert Louis Stevenson penned by Bill Peel.
When I first read the script, it was obvious to me that I wanted to create a certain look and atmosphere. Hopefully, I have achieved this. As regulars will know, I like to use minimal sets; relying on the strong acting skills of my cast, dramatic lighting, costume design and hard hitting music to support the action.
The original music is composed and produced by the talented Matt Rowe. Together with other tracks, which have been remixed been under his supervision.”
Strap yourselves in, as it’s going to be a bumpy ride!
