Review: Jekyll and Hyde (Liverpool Everyman)

Review by William Keeling

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It has been 240 years since Robert Louis Stevenson published his classic novella, Strange Case of Dr Jekyll & Mr Hyde, with the story thrilling audiences in the centuries since and being the subject to countless adaptations on stage and screen. The latest iteration is a radical reimagining by Evan Placey, presented by Young Everyman Playhouse (YEP) in Liverpool. Bringing a touch of Bridgerton to the classic, their take shows the 1886 classic has continued relevance in an entertaining, dynamic, and stylish way. 

Placey’s adaptation is a very mature piece that stretches the performers, creatives and production team. YEP provides free on-stage and behind-the-scenes training for young people between the ages of 14 and 25, aiming to expand access to the performing arts industry, with a particular focus on those who are underrepresented. This particular production showcases their 18s to 25s. Pulling Jekyll & Hyde off is no mean feat - after all, it is a classic, and there is the risk that hardcore literary critics will see it as a tasteless updating for the sake of it. There is intention in every acting and creative choice here, which highlights what bright futures these young people have. 

This is simultaneously a gender swapped version of the original, a sequel, and a modern-day retelling. Jenna Al Nasir’s Harriet Jekyll is still coming to terms with the death of her renowned husband. As she comes out of herself, she becomes increasingly interested in his soul-splitting work when, just on cue, Lady Hyde enters. At the pivotal moment, we discover that this is all a fan fiction which betrays the psychological battle in Katie Comer’s modern-day Florence.  

Performance-wise, Nassir and Comer blow it out of the park. It is ambitious to have the same actor play both the Jekyll and Hyde parts, as there is such a physical and emotional distinction between them in the book. However, it really showcases Nassir’s breadth as an actor in the three shades she brings to her performance. You can really relate to her feelings of invisibility at the beginning. They soon give way to an erraticism that hints at a darker side, and you will love the dangerous sass when “Lady Hyde is in the house”. It is great that this adaptation focuses more on her character development, rather than waiting till the very end for her revelation, because we really become invested in the inner workings of her mind. Comer has a strong chemistry with Nassir that definitely borders on obsession. It is intriguing watching the way Florence lightens up, reacting to all the Lady Hyde scenes in Act Two.

Stevenson’s original is a very male-heavy narrative. Plot-wise, in the adaptation, this is definitely challenged through women’s rights themes that are brought out. The male leads also bring out ideas about patriarchy. Sean Howard’s Utterson plays into Harriet’s hands through his staunch and stodgy belief that he is her protector. Their obvious romantic exchanges betray how blind he is to her potential. Michael James’s DCI Renford is the polar opposite, brutally drawing attention to entrenched sexism in current institutions. Female leads, like Jemma Barnes’s Gertrude, who conform to patriarchal ideas about women, are satirised and make a sharp contrast to the two central characters. 

From a production aspect, this is a challenging show to pull off. Many of us will surely come in with a set idea about how a period drama should look. There is definitely a sense that the production and technical team have studied Bridgerton in the way the actual Jekyll and Hyde scenes come to life. Whilst it is a Marmite series, it has overall fired up a renewed interest in period dramas, making it a good template for adaptations of this ilk. The macabre set design shows an understanding of the pop culture view of the Victorian Gothic in a similar way to how Bath captures people’s fantasies about the Regency era. The blood-red tinge to the cobbled streets and gas lamps sends shivers up our spines before anything has even happened. You don’t even notice it, but the set merges with modern-day gadgets and nightclub lighting in a subtle way that makes the current, faster-paced dialogue feel natural and not out of place. Set designer Anna Coates has a very attuned vision, which the young set makers and builders from LIPA and YEP enact professionally.

The funky string arrangement of Nirvana’s “Smells Like Teen Spirit” to crown off the show, kudos to YEP’s Adam Gallagher and Ian Davies, is definitely a very welcome Bridgerton touch. However, there are also some details from the classic which do not go unnoticed. Lighting designer Andy Webster and operator from YEP, Sama Mohamed, bring these out shrewdly. Every time Jekyll transitions into Hyde in the book, it starts with his hand. Therefore, the spotlight on Nassir’s hand enables us to see the physicality of what is going on here. Little details like this show appreciation for the original work as a springboard for meaningful conversation.

There is an intense process behind this show. Following twelve weeks of training in various theatre skills starting in January, the cast and production team worked with a professional director to put on this show. Jen Tan brings the very best out in these students, encouraging performances that project and immerse the audience. The ensemble makes full use of the space, pulling you into their world in ways that are often startling. As a production that gets into people’s heads and explores activism, this feeling of involvement is key. Her direction also brings clarity to the relationship between Harriet and Florence. There is a striking stillness in Comer’s performance which contrasts with the business of Nasir’s. The Jekyll and Hyde story represents what is going on in Florence’s head. This is not some rogue story about one person’s ambitions; it is a manifestation of the angel and demon battle we all face. 

This is absolutely how you retell a classic and sell it to audiences today. Placey’s adaptation takes what is good in the original and highlights what has been missed out to speak to current gender issues. YEP’s team make his material visually enticing and exciting through high-momentum performances. Stevenson fans will love it, and it will earn him some new fans.   

Jekyll & Hyde played at Liverpool Everyman until 4th July.  

Photos by Andrew AB