The interesting thing about “Steampunk” fashion, according to Professor Google, is it is defined as the space“where history and fantasy collide with technology”. “Retrofuturistic” is also a word one often sees when researching the phenomenon. I’m sure that Robert Louis Stevenson did not intend any of his characters to be wearing industrial goggles, but that didn’t seem to matter to Director Ben Stefanoff in his inspired Steampunk version of the timeless classic that is the dark story of “Dr Jekyll and Mr Hyde”.
Written in 1886, “The Strange Case of Doctor Jekyll and Mr Hyde” captured a moment in time when the industrial revolution was taking off “full steam ahead” in the working-class slums of inner London. The philosophy of the time was deeply embroiled in the examination of humanity and its propensity for either good or evil. Indeed, the death of Karl Marx in London just three years prior tells us what might have been going through Stevenson’s head at the time. The duality of the human condition being expressed in either the greed of capitalism or the inherent goodness of the working-class washes all through the original novella like washing powder through a high-vis working-class vest.
For the benefit of those who have just arrived from another planet, the story of Jekyll & Hyde relates to an experiment by the “good” Doctor Jekyll, complete with upper class aspirations and a “nice” medical practice in Harley Street, chemically transforming himself into the “bad” Mr Hyde, who gets his kicks out of murdering people in the dark streets and laneways of London. Just like saying “everyone dies” at the end of Hamlet is not really a “spoiler alert”, neither is giving away that Hyde is very good at what he does. Indeed, the audience found some of the deaths to be quite amusing in a macabre, Halloween kind of way. Jamie Wright gave us a particularly amusing death when his character Lord Savage gets it in the neck. Jamie’s foppish, pathetic character didn’t deserve to be murdered just for being a twerp, but we’re all glad he was, and we all got a restrained chuckle out of it!
The perpetrator of all these murders, Mr Hyde (or was it Dr Jekyll?) was expertly played by the TASA award winning actor Daniel Hamilton. The director did not rely on a makeup or costume change when the transformation between Jekyll and Hyde took place, leaving it all up to Hamilton to give us a believable character change through his voice and general disposition. There were shades of a type of “Clark Kent and Superman” disbelief about it all, but the audience went with it, and all was well. Unlike most romantic comedies (if you can even call this show that), Hamilton was blessed with not one but two “leading ladies”. Emily Morris gave us a beautiful “Emma Carew”, Jekyll’s beloved betrothed, while Sarah Hamilton gave us a wonderful “Lucy Harris”, who as principal “working lady of the night dressed in red from the bad side of town” had the audience wondering whether she would end up with Jekyll, Hyde, or dead, with all three being a distinct possibility! Morris and Sarah Hamilton were both of beautiful voice, and this was particularly demonstrated in their duet in the second act.
It is hard to isolate any more particular performers for their efforts, as the general ensemble was strong and proud, with stomping feet and aggressive menace showcased into the wonderful choreography devised by co-choreographers Mark Stefanoff and Emily-Jo (“EJ”) Davidson. Yet, difficulty notwithstanding, it would be remiss to not acknowledge the soaring soprano of Carolina Fioravanti ranging above the ensemble pieces with impressive vocal range, adding something extra-special to the show. Lachlan Stieger played a very creepy and menacing “Spider”, the easily dislikeable tavern owner and wrangler of the red-dressed night-ladies, and Nic Equid gave a solid performance as Utterson, Jekyll’s long-suffering and loyal mate and confidante.
There were some technical aspects of the show that seem to be opening-night oopsies. While this show is widely acknowledged as a comedy noir, perhaps some of the lighting may have been a little too dark at times, with the principals operating in the shadows on a few occasions. The music at times overshadowed the vocals which could have been clearer. I am sure these glitches will be ironed out soon now the run has commenced.
The cogs and steamy dark nature of the set designed by Ben and Kristin Stefanoff gave the audience no doubt as to the steampunk theme of this show. The nature of the set lent itself to fast and effective scene changes, such as the transformation from seedy streets of London to Jekyll’s intelligently cluttered laboratory. The ensemble handled these changes well as part of their frenetic onstage duties.
The music for Jekyll & Hyde is renowned as some of the best musical theatre around. Under the steady baton of Kristin Stefanoff, the talented orchestra maintained a wonderfully strong presence throughout and gave us an excellent presentation of this awesome soundtrack. The musicians even got into the theme of things, with trumpeter extraordinaire John Nicolson wearing a fully operational “Steampunk” hat, complete with working smokestack on top! His hat captured the commitment to theme demonstrated by the entire cast, making director Ben Stefanoff’s vision come to reality.
“Jekyll & Hyde” represents yet another fine piece of musical theatre by the Hills Musical Company.
Photo credit: Daniel Salmond
