Presentation
Strong ironwork structure was the key element of the set. It provided a higher level across the stage as well as steps down onto the main acting area either side. The decorative detail of the ironwork gave the effect of period fencing - suitably smart for the upper classes, but its harsh quality underlined the subtext of the welfare of the lower classes in the show. Narrow flats were introduced to establish Jekyll's laboratory - an excellent collection of bottles, equipment and posters created a room fit for intensive scientific exploration. Single doors for inn and house were positioned SL. Additional pieces of furniture such as the chaise longue and bookcase were introduced as required. The use of mirrors in the study gave you the opportunity to present a sense of a distorted reality and the conflict of Jekyll's mind. Needles and blood packs were handled very well. Both characters and crew were involved in these very efficient scene changes. Players coped very well with the stubborn flat towards the end of the show!

A complex lighting plot. Overall there was an appreciation of the mood of the show here - glowing candles gave a sense of the Gothic, narrow shafts of light on Jekyll's study immediately established the contentious nature of his work and a frequent sense of shadow on stage also set an atmosphere of unease and at times fear. Distribution effectively underlined the social theme as the 'poor' were often positioned on the edges of light. During the Board of Governors scene, tinges of colour were effectively used to light up part of the faces of the resolute Governors, underlining the uncertainty of their response to Jekyll. There were moments in this show when the lighting was so effective: we felt assaulted by the bombardment of effects - the upstage blinders used to mark key entrances, the red tone lighting faces during the murder scene and the very clearly defined storm prior to Lucy's murder. At other times though, particularly in the first half, I felt the plot was a little too busy. Washes on the upstage cyc' were a good way to underline the varying moods - but they were over used and the sense of unsettling confusion became a little bit too frenzied. Final scene was beautifully realised with the impactful blocks of green light.

Very effective gothic theme in the dress of those at the asylum and the lower classes. Back combed hair, heavy make- up and layers of tattered clothing established the mania and isolation of these people. Red and black colouring for the prostitutes created just the right impact - I loved the different colours of Nellie's boots. Lucy's velvet tail jacket gave her the requisite focus. Lovely range of colours and textures for the upper classes; off the shoulder neckline, scooped hems and bustles gave reference to the era. Emphasis on the waistline was also appropriate. I had a few questions about Emma's costumes; the initial cream dress underlined her purity as a character. The consequent grey day suit was, I felt, a little dour, and the wedding dress appeared rather modern in terms of fabric and shape. Jekyll's wing collar shirt and long black jacket were very effective - as was the transition to the stunning black leather coat. Loosening the pony tail also worked very well for the change of character. Utterson's rather neutral suit was a pleasing contrast.
Make- up and hair suited the period; bruises on the prostitutes were rightly disarming.

Direction
In each of us there are two natures - the primitive duality of man. It is the curse of mankind that these polar twins should be constantly struggling.'

Struggle and conflict lie at the heart of this musical. Of course the depiction of the schizophrenic Jekyll and Hyde is very central, but the social conflict between rich and poor and the frenzied dynamic of interpersonal relationships also lead us to consider our personal turmoil when it comes to morality. This production certainly captured this sense of turmoil. It was a 'pacey,' busy, energetic production that created a rightful sense of restlessness and unpredictability and so really encouraged us to identify with Jekyll's mental torment. Vocal energy in both spoken word and song was excellent - this is a 'big' show depicting a 'big' theme - we need to be compelled by these characters in order to identify with Jekyll. Contrast of characterisation in terms of class and morality is also key. The impervious Board presented a strong representation of self-absorbed snobs. This was matched by and contrasted with the tangible evil of Spider. The broken, battered whores drew our sympathy far more than the abusive upper classes. And then we have the characters of Lucy and Emma - representations of the complexity of good and evil in themselves. Emma's resolute loyalty and wholesomeness was evident; and Lucy managed to sustain the integrity of her past as well as show her humanity. And then of course there is Henry. Very assured and inventive direction of this tortured man: we connected with his integrity, his obsessive nature and his final torment. Therefore we were able to connect with the premise of the show.

The relentless pace of well-timed dialogue and song was matched by quick scene changes, so promoting the idea of Jekyll's unstoppable decline into the persona of Hyde. Many of these worked very well - for instance when Jekyll starts to transform in his study and then assertively pushes back the flats himself as Hyde's strength begins to emerge. The 'full' sense on stage as the large cast moved between scenes also contributed to the intensity of the show. However, at times the show did feel a little rushed and too busy ... I really appreciated the moments when action was stripped down and we could really focus on the emotion of the moment. I wasn't too sure about the dancers on the high level during the love duet between Emma and Jekyll - they were a distraction as I just wanted to focus on the lovers. When you did strip back action and movement there were some incredibly powerful moments: The simple grouping and delivery of 'His Work and Nothing More' created a spine tingling atmosphere as the four singers 'discussed' the agonising conflict of Jekyll's vision.

The physical connection between this cast was impressive. The scenes between Hyde and Lucy are very challenging - but movement and confidence of players created some really unsettling moments. Handling of Jekyll's transitions was very good too. Again, these could so easily be 'too much', but the physicality and vocal dynamics of this player ensured that we were both gripped and repelled. Some very effective grouping too - the slow, forward movements of the distressed inhabitants of the asylum initially and grouping of prostitutes and punters in the inn was most effective. Excellent reactive play from the ensemble here.

By the end of the evening I could not write. It was so painful and unsettling to watch Jekyll's final, tortuous demise. I have never felt that way before at the end of a Rose Bowl Adjudication.
Well done.

Musical Direction
There are few moments to rest in this almost relentless, high-energy pop rock musical. Cast appreciated the genre and every number was attacked with vocal gusto and an understanding of the 'grit' and commitment required. There was also an obvious understanding of the need to 'speak' through these numbers. The sense of anger in 'Facade' was rightly provoking; fear and distraction were beautifully conveyed with excellent timing of 'Murder, Murder'. 'It's a Dangerous Game' was very skilfully delivered - the uneasy sexual chemistry apparent in this unsettling number. Contrast of love songs was effective too - clarity of diction and strong focus ensured that pace did not dip in numbers such as 'Take Me As I am.' Soloists were strong; clarity of tone and diction ensured that Jekyll's increasing dilemma and resolve were evident. Rapport between all singers and band was strong - but there was an instinctive relationship between musicians and Jekyll, which ensured that both narrative and emotion were beautifully communicated in all his numbers. 'Someone Like Me', more pop than rock, is a beautiful love ballad but doesn't always sit easily into the persona of Lucy. However the vocal depth and empathetic playing from this actor made this number both moving and memorable. Facade (reprise 2) captured the right sense of intensity and lovely harmonies and intelligent delivery of lyrics established the haunting, wistful quality of 'In His Eyes.'

Very disciplined supportive playing from the orchestra - balance between singers and musicians was very good. The textured score was well performed and instrumentalists captured the atmosphere of the music in key moments so very well - for instance the string accompaniment as Jekyll/Hyde writhed in conflict.

Just a few occasions when the 'busyness' of the numbers distracted from diction and on a very few occasions, pitching. But there was a raw energy throughout the show which captured both the spirit of the songs and our undivided attention.

Choreography
I felt you had a lot of fun with this! Such a lovely range of movements and levels for 'Bring on the Men' - sexual connotations in the positioning and a lot of energy from the dancers really lifted this number visually; use of levels in this number was excellent. Movement and placing in all the love ballads was very good indeed - often these become a little stilted, but you established relaxed, tender positioning that really enhanced the songs. Predatory, menacing approaches from Hyde towards Lucy were beautifully shaped physically. Repeated, altered head movements presented the sense of suspicion in 'Murder' - the sense of fear was really captured in this song. Use of umbrellas accentuated the impervious upper classes - you did well on a smallish stage with a large ensemble. At times lines were not clean and timing a little out in ensemble dancing - but again the energy from all dancers sustained our interest and matched the mood of the show.

Playing
JEKYLL/HYDE
There are so many facets to this character but I felt that you had approached this role with such thoughtful preparation, exploring the drive and emotional journey of the man with obvious intelligence. You have an impactful yet understated presence on stage - this really worked, for the personas of Jekyll and Hyde were presented through you in such a way that we were able to really connect with the dynamic between the two. In your first number your humanity was captured as you sang to your father - our empathy was drawn in immediately. This is important as we need to like you as you follow this tortuous and dangerous road. But you also portrayed Henry's desperation for scientific advance and an answer to the big question of good and evil - this desperation became effectively compulsive. Your energy as Hyde was both repulsive and intriguing - and I think we were all very unsettled by the impactful delivery of those provocative words as you felt so 'alive' in your new found persona. Physicality matched this - transition to Hyde was outstanding: the jerking, tormented body movements alongside a deep vocal delivery and glazed, manic eyes gave us a window into your tormented mind.

Relationship with both Emma and Lucy were established with an impressive ease. Again such physical confidence here - particularly in relation to Lucy. You also inhabited the role musically. Lovely clarity of tone and diction as Jekyll and again an effective vocal change for the deeper, more menacing numbers as Hyde. We believed in the monster that began to inhabit you - but we also continued to believe in your inner conflict right to the end - 'not on my wedding day...'. Thus we were able to identify with the pain of your conflict - and this was so very compelling but so very hard to watch.

EMMA CAREW
You consistently presented a good faithful woman, speaking and singing with an unforced energy that matched Emma's personality. Your love for both your father and Jekyll was evident - you portrayed the tenderness and grace of Emma very effectively and also captured her strength in relation to her father. Emma's character does not really grow - this makes her a hard character to play I think, but such a lovely moment as you tried to reach out to Jekyll as you started to acknowledge his obsession with his work:
'If you need me...'

LUCY HARRIS
This is a great part and you attacked it with such energy. As a prostitute you caught Lucy's confident and provocative nature - impactful grit and ease in your wonderful physical and vocal rendition of 'Bring on the Men.' But you also showed us Lucy's heart and we were drawn into your longing for protection and genuine love as you fell for Jekyll. Underlying fear was tangible and the combination of terror and attraction caught so very well in 'Dangerous Game.' Very attractive, beautifully pitched and well articulated singing completed this excellent performance.

GABRIEL JOHN UTTERSON
Utterson is one of those reactive characters and again his journey is far less obvious. But you are such a good listener as a performer and we identified with the concerned, compassionate friend and professional from the onset. Timing of spoken delivery was excellent - there was a clarity and sensitivity in your responses to Jekyll, and your quiet presence always gave a sense of reassurance on the stage. Again commendable singing delivery - a strong technique enabled you to shape your songs with clarity and tenderness. Really memorable communication of your pain at Jekyll's death at the end of the show.

SIR DANVERS CAREW
Status was established in both posture and vocal delivery, you also presented the one member of the Board who was more sympathetic to Jekyll. Tender rapport with your daughter - just be sure to sustain breath support to the end of phrases in spoken delivery.

GENERAL LORD GLOSSOP
You said little but sustained your portrayal of the older gentleman with good focus and reactive facial play.

THE BISHOP OF BASINGSTOKE
Impervious and uncompassionate - we were rightly shocked at this characterisation of a man of the cloth.

SIMON STRIDE
Your strong stage presence enabled you to portray the man who dislikes Jekyll so much. Excellent vocal delivery as you chaired the Board.

LADY BEACONSFIELD
Very strong posture and some lovely facial reaction during the Board scene - I loved your spiteful smirks. Just be careful to maintain balance of play in your vocal delivery.

SIR ARCHIBALD PROOPS
You contributed well to the Board - strong cueing gave Proops a requisite sense of the professional man.

LORD SAVAGE
A clear portrayal of the very selfish lord - beneath the seeming charm there was a strong streak of meanness.

Ensemble
There was an infectious sense of enjoyment from you all - you oozed commitment and enthusiasm. Lovely cameo from the respectful yet hesitant Poole and a very memorable portrayal of Spider - your hatred of women and love of yourself was very evident.

Thank you for your welcome and hospitality.

The musical is based on Robert Louis Stevenson’s story The Strange Case of Dr Jekyll and Mr Hyde. Frank Wildhorn has written so many musicals with different lyricists however this one, The Scarlet Pimpernel, Bonnie and Clyde and Wonderland are the only ones which have crossed the sea to us.

Steve Blackmore always pushes his actors to the limit to achieve his vision and as always it pays off. as you get first class theatre. The actors were well cast, and each suited the role that they had to portray.

SET
Well done to stage designer Matthew Jeanes, who created a simple but effective set, with two sets of steps leading to a central upper level, all scene changes were carried out quietly and smoothly taking us from London Streets to Dr Jekyll’s laboratory, Office, Lucy’s Apartment and the Red Rat Public House.

MUSIC
Joseph Church kept a tight rein on the orchestra and because of this we were able to hear the soloists perfectly. The cast had obviously been worked hard and this showed on the balance of voices and the harmonies.

CHOREOGRAPHY
Charlie had created some simple but effective routines which looked effective which the cast handled with ease. Well done

SOUNDS
James Hartland had control of the sound and made sure the cast were always heard, once or twice when soloists reached the top notes it became a little distorted.

LIGHTING
It was definitely “Friday 13th” with one or two gremlins at work! Apart from these little glitches the cast were always well lit and there were several well thought out atmospheric lighting cues. Well done to Chris Horseman and Toby Abbot. And Peter Larter and George Mailin who were in charge of the follow spots which worked well and on time. Well done to all of them for their hard work, despite the “gremlins!”

COSTUMES
The costumes which were colourful and were well thought out and looked in period and gave the right impressions of the upper and lower classes of that period. Well done to all of those who helped with these.

THE CAST

DR HENRY JEKYLL/EDWARD HYDE (Brendan Casey)
Brendan deserves an Oscar for his portrayal of this character, by the end of the show you must be exhausted, having to remember which character you were, you handled this with the air of a professional, this was one of the best performances that I have seen Brendan do. You were from start to finish both characters so well, we believed in you as Dr Jekyll and we could see your emotion and frustrations regarding your experiments with your Father, and your love for Emma. As Edward Hyde you created a monster, that you had no control over, your portrayal was excellent, this was a believable character. Your interaction with Lucy was well handled as was your interactions with Emma, Utterson and Sir Danvers Congratulations on an outstanding performance.

LUCY HARRIS (Kristy Bennett)
Kristy has a powerful voice which you used to perfection in your songs, and your interaction with Henry Jekyll was so real that we could believe in your character and the emotion you showed in your singing and acting was confident, this was a natural performance.

EMMA CAREW (Louise Cottell)
Louise has a beautiful clear speaking and singing voice, and this came over in your many songs and your interaction with Jekyll/Hyde. You looked the perfect part in your costume and we could believe in the strong-willed character that you portrayed, we could feel the emotion between you and Dr Jekyll, we could see that you would be by his side through all the problems that he had. This was an excellent performance.

GABRIEL JOHN UTTERSON (Lynden O’Neill)
Yet another side of Lynden as the concerned and faithful friend to Edward, this was a strong performance and you stayed in character at all times, you interacted well with Edward and we could believe in you and the emotions that you were going through. Well done.

SIR DANVERS CAREW (Chris Parslow)
This was a strong and believable character that you had created and we could see that you thought of Edward as the son you never had, you interacted well with the other members of the cast and you were the father to Emma, you stayed in charterer and you gave a confident performance.

POOLE (Dan O’Hare)
Dan was the perfect butler and you looked the part, good voice and good stage presence, well done.

SPIDER (Jake Chew) - SIMON STRIDE (Lee Westney)
Both small roles but again central to the story. Jake as the pimp had created a believable role, you looked and acted the role so well that we could believe in your role and you interacted well with Lucy and the other members of the cast, well done.
Lee as the unrequited suitor played this part well and it was obvious that you did not stand a chance with Emma and at the end you met your fate at the hands of Mr Hyde. Good interaction with the other members of the cast staying in character at all times. Well done

GENERAL LORD GLOSSOP (Dave Cain) - BISHOP OF BASINGSTOKE (Robert Hardacre) - LADY BEACONSFIELD (Sophie Sturge) - SIR ARCHIBALD PROOPS (Dan Leese) - LORD SAVAGE (Will Pope)
Only small roles but all essential to the story, from the pompous General, the holier than thou Bishop, the sanctimonious snobby Lady, and the rich pompous and semi hypocritic Sir Archibald and Lord Savage, you all played your parts well with good strong voices and confidant acting you all created believable characters. Well done

BURLESQUE DANCERS (Emma Griffiths, Sophie Sturge, Charlotte Rowlands, Jemma Legg, Becky Merchant, Stephanie Golledge (NELLIE)
From your colourful costumes which helped to create the characters, you all blended well together and have clear singing voices and good movement, you were the ladies of the night always in character at all times. Good stage presence and you lit up the stage, we could believe that you were truly the roles that you created. Well done.

BISSET (James Watkins) - PRIEST (Jake Wheeler)
Two smaller roles which again are part of the story, you both created the roles well and interacted with the other members of the cast.

RICH AND POOR CHORUS
A good strong chorus is essential to any musical and this is what we had with you all, playing your various roles and staying in character at all times, good movement and excellent singing, you all helped to create them and be part of the story. Well done

I thoroughly enjoyed the show, and from the very beginning was entrapped in the story, congratulations to Steve for your excellent direction, and to Musical Director Joseph Church for all their hard work, and to all the many people who were part of the show whether backstage or on stage. This was a show that you could be proud of and you deserved the standing ovation at the end.

Thank you for your kind invitation and the warm welcome front of house, and I look forward to being invited to your next production

Tony Winstone
NODA Representative – District 13