READING Repertory Theatre has embraced the spirit of Hallowe’en with its latest production, Jekyll and Hyde.
This production has been adapted by Glasgow’s Gary McNair, and directed by Michael Fentiman, whose production of Amélie was nominated for three Olivier awards in 2020.
It stars Audrey Brisson, who was also nominated for an Olivier award for her performance as Amélie, as the only actor.
The premise of Jekyll and Hyde is well-established, so Reading Rep has worked hard to make the story’s retelling fresh and vibrant.
It has done so by scaling back the majority of the production’s staging: external characters and settings have been stripped away, leaving only a single flat platform, a doorway, a stool, and a single actor.
The production is less of a staging of the events of the narrative as a result, instead focusing on the abilities of Audrey Brisson, playing solicitor Gabriel Utterson, on pushing the story forward.
With a run-time of over an hour, a full production through monologue could run the risk of becoming dry, but this is aptly avoided through Brisson’s presence and conviction alone.
The original novel begins with a spoken conversation between Utterson and a friend, in which he details the curious events going on surrounding his client, Dr Jekyll.
While it uses this conversation as a framing device, Reading Rep’s production makes this the focus, with the audience taking the part of Utterson’s acquaintance.
This choice instills the narrative with a chilling tension as the events are reported as if hearing a friend recount their worst nightmare.
It also means that the more comical aspects of the story can shine through too, again embellished by Brisson’s easy charm.
The production’s utilitarian set emphasises this, with a small, flat square forming the only stage.
The stark, harsh strip light running around the perimeter forms the only light source for much of the play, which, combined with some smoke effects, frames Brisson in an almost alien way.
As the play continues, Brisson also takes up the portrayal of the secondary characters, demonstrating engaging flexibility and range.
The presence of the outline of a door in the background hangs over the whole of the production, constantly threatening that the beastly Mr Hyde could burst through.
Overall, the production encapsulates the almost whispered tension of the original novel by stripping it down to the second-hand personal account typical of an M.R. James ghost story.
Brisson’s powerful performance doesn’t carry the production– it is the production, perfectly complimented by Emily Irish and Max Jones’ minimal, but choice, additions to set and lighting.
The stripped-back nature of the production makes it the perfect Hallowe’en tale for families, especially considering that the more violent aspects of the narrative are not performed, only told.
It is still recommended that the production is suitable only for children aged 10+.
Jekyll & Hyde is running at Reading Repertory Theatre, Kings Road, until Saturday, October 29.
Tickets begin from £15, with family tickets and school bookings available.
Performances begin at 7.30pm, except Saturdays, when matinee performances begin at 3pm.
For more information, or to book tickets, visit: www.readingrep.com
