Good versus evil, whether you believe the conflict exists or not, and some don’t, Robert Louis Stevenson tried to encapsulate the struggle between the opposing forces within us in his Gothic novella, Strange Case of Dr Jekyll and Mr Hyde. Appropriately the book was inspired by a ‘screaming nightmare’. The Guildford Shakespeare Company’s production, Jekyll & Hyde (St Nicolas’ Church, Guildford), in an evocative ecclesiastical setting is yet another excellent example of Britain’s rich tapestry of innovative and creative theatre. Caroline Devlin’s compelling adaptation is not exactly site specific but utilises the space and architecture to dramatic effect. Samuel Collings takes on the challenge of a one-man show with superb acting craft and commitment, obsequious ingratiation when Jekyll morphing into terrifyingly ferocious as Hyde, the monster living within the self.
The play opens with respectable society man Gabriel John Utterson walking the cobbled streets of Victorian London with his cousin Richard Enfield, discussing a violent crime committed by the sinister Mr Hyde, a man with a track record of horrific behaviour. How so from a man who is outwardly a paragon of virtue? There begins the contemplation of right and wrong, choice and predestination and perhaps most importantly body and soul. Playing all the roles is some feat and Collings skilfully brings the various characters to life giving each a particular quirk, voice or facial expression with moments of amusement breaking the tension. Mark Dymock’s impressive lighting, coupled with Matt Eaton’s tumult of sound, when Jekyll’s experiments take a turn for the worse and we first hear Hyde’s incorporeal voice, are superbly executed. That voice becomes flesh and we encounter the contorted writhing man out of control. The transformation is complete and the monster takes its form. A frightening, yet pitiful sight.
A huge crucifix hangs over the action offering forgiveness should Hyde change his hide but ultimately it is his failure to control the science that kills Jekyll taking his own life after he has written a letter, ‘under the influence of the last of the old powders’ that describes what he has done, thereby preventing the monster from taking control. A seventy minute gem.
Meanwhile Athasha Lyonnais experiences moving existential dance…
Light of Passage (Royal Opera House) is the ambitious and impassioned new ballet choreographed by Crystal Pite, with music by Henryk Mikolaj Gorecki. The three part piece attempts to capture the collective grief and individual tragedies of migrants looking for safety in a hostile world.
Minimally staged, the piece focuses on the mass movement of the displaced; bodies move as one organism, with performers occasionally breaking off to convey their own unique stories of hardship – an incredibly evocative way to underline the importance of seeing refugee crises not as one big tragedy but thousands of heartbreaking instances. I found this incredibly moving, well worth seeing.
Finally, Rubina Kangaris is gripped by dance as storytelling…
Kenneth MacMillan’s 1978 ballet, Mayerling (Royal Opera House), is a powerful and riveting ballet with music by Franz Liszt. It is based on the real life story of Crown Prince Rudolf heir to the Austro-Hungarian empire in 1889 and the intrigue surrounding his untimely death/suicide along with his 17 year old lover Mary Vetsera.
As with most productions at the Royal Opera House, the sets are sumptuous and beautifully crafted. It is a ballet bursting with many ensemble scenes, the one in the Tavern being exceptional both in its scintillating choreography and pace. The cast are masterful in each of their performances, Itziar Mendizabal is impressive as the emotionally restrained Empress. Marianela Nuñez brings a softness to Mitzi Caspar, who plays the prostitute to Prince Rudolf. Isabella Gasparini’s portrayal of the frightened Princess Stephanie is stellar and Vadim Muntagirov’s anguish as Crown Prince Rudolf is palpable.
The show is striking not only in its intricate choreography but also in the stunning autumnal decor designed by Nicholas Georgiadis.
Jekyll & Hyde – www.guildford-shakespeare-company.co.uk
Light of Passage and Mayerling – www.roh.org.uk
