As the curtain rises on The Crescent’s production of Jekyll & Hyde, we are treated to a silent and sinister line up of six gentlemen, clad in dark suits and top hats, bathed in red light. Paired with wonderfully creepy background music, it sets us up perfectly for the gritty supernatural tale about to unfold.

Most are familiar with the basics of Robert Louis Stevenson’s 1884 novella, in which the respected Dr. Henry Jekyll conducts experiments that transform him into the monstrous Mr. Edward Hyde, allowing him to freely indulge in his darkest desires.

While the production is captivating, the plot can become murky and confusing. However, strong production values keep it grounded. Michael Barry’s direction ensures a harmonious ensemble, while James Booth’s lighting complements the story well, and effectively follows Dr. Jekyll’s descent into madness. This works well alongside Keith Harris’ simple set design, which allows Booth’s lighting, and the actors, to shine.

Neil Bartlett’s adaptation flips the script on the traditional telling of the story, with the introduction of a new female protagonist, Dr Stephenson, played here by Amanda Nickless. As an audience surrogate, Dr. Stephenson investigates Jekyll’s case with the determination of an ITV crime drama detective. As Dr Stephenson, Nickless presents a strait-laced and trustworthy rival to the charmingly insincere Dr Jekyll. We feel that there could be a slightly more spirited approach to her character, but nevertheless Amanda Nickless plays the role well and keeps the audience engaged. A few sound issues on the opening night also made some of her lines difficult to hear.

Helping Dr Stephenson to crack the case is an unlikely sidekick known just as The Girl, who is seeking justice after being trampled by Hyde. Phoebe Benson is very enthusiastic and feisty in her portrayal, and has great potential, but might benefit from toning down the character slightly, as her frequent loud outbursts sometimes distract from the plot. Nonetheless, her Cockney accent is very impressive.

Completing the trio is Paula Snow, who dual-roles as a Matron and Jekyll’s housekeeper, Mrs Poole. A more obvious costume change might help with distinguishing the characters, but Snow does a fantastic job of navigating the two roles and keeping them distinct. She is particularly fun to watch as the housekeeper, whose nosy nature helps to unravel Dr Jekyll’s dual identity.

Another twist to the tale comes in the form of The Gentlemen, five men donned in suits and top hats who are ever-present throughout the play. We were slightly perplexed by this at first, as it isn’t made clear whether they are background characters, figments of the imagination, or otherwise. This ambiguity is confusing at first, but later becomes apparent. They shift between embodying Victorian London's patriarchal society and the inner voices of Dr Jekyll and Mr Hyde. As an ensemble, their synchronised choreography and impeccable timing create an imposing presence.

Individually, each of the Gentlemen have their own roles to play. At the very beginning, Robert Laird plays the pompous Mr Enfield with aplomb and stands out in the ensemble scenes due to his animated nature. In contrast, Stephen Message plays a very stern Detective Inspector. Another member of The Gentlemen, Crescent Theatre veteran Brian Wilson plays a mild-mannered colleague of Dr Jekyll. Unfortunately, a lot of his lines are lost due to poor sound and are swallowed up by the overlapping speech of The Gentlemen. Rounding out the group is Steve Davis, providing some great comic relief with a lively music hall-style sketch, weaving in references from Countdown to Carry On films. Though somewhat disjointed amid the gothic tone of the show, Davis’ natural charisma makes it work.

Elliott McDowell, as Jekyll’s lawyer Mr. Utterson, is magnetic. McDowell is utterly watchable as he shifts from an arrogant know-it-all to a concerned friend and emboldened hero, who breaks down the door to Jekyll’s laboratory. He is definitely missed in the second act when he’s mostly part of the ensemble.

Last, but certainly not least, the role of Dr Jekyll and Mr Hyde is portrayed effortlessly by Sam Jackson. Appearing as a shadowy figure in the background for most of the first half, Jackson makes a deliciously chilling entrance as Mr Hyde - so hypnotic that The Gentlemen feel like unnecessary noise. His portrayal of Mr Hyde, with Gollum-like stature, hits a sweet spot of horror without being too much. In contrast, he is also impressive as the attractive and enigmatic Dr Jekyll, putting you at ease as he jokes over dinner with friends. Jackson’s real talent shines in the transformation from Jekyll to Hyde. Writhing in agony, his face contorts with repulsion, making the shift between characters disturbingly believable. It’s a gripping but uncomfortable scene, but also impossible to look away from. A true standout of the second act!

The show runs at just over 2 hours and 30 minutes, but the first act is around 1 hour and 15 minutes, which does feel rather lengthy and there was a sense of restlessness in the auditorium as we headed towards the interval. There are certainly parts that could be shortened for brevity, perhaps the acapella singing, which doesn’t always fit the tone. In contrast, the second act is refreshingly quick and flies by.

The production has great potential, and with a few tweaks, this show could really shine. A brave and unique interpretation of a classic story, and an eerily enjoyable watch.

*** Three stars

Reviewed by: Kirstie Ewer

Jekyll & Hyde plays at Birmingham’s Crescent Theatre until 15 February, with further info here.