LAST Tuesday night I went to the dress rehearsal of Devizes Musical Theatre’s production of Jekyll and Hyde, at Dauntsey’s School in West Lavington.

Devizes Musical Theatre has got a bit serious over the years, since its inception in 1965, and the Dauntsey’s stage is the best in the area.  This show is directed by Matt Dauncey, with a 17-piece orchestra conducted by Susan Braunton. 

The set is minimal, with dramatic lighting to emphasise the suspense and Gothic horror of it all, and, whilst ‘comments on style should never be made by those who have none’, the Victorian costumes (Jen Warren) are authentic and beautiful. 

Jekyll (Hyde) is a massive part, and a huge test for any actor.  It’s all about the transformation (think American Werewolf in London, but less hairy), and keeping the parts ‘definite and opposite’, that quote coming from Gareth Lloyd, who plays Jekyll and Hyde but who is tonight in the audience, watching his understudy, Andrew Curtis, who plays the part in the matinee, on the stage. 

One is amused by the fact that there are two Jekylls and two Hydes in the house, and I’m interested in how Gareth plays Hyde, and the differences between his and Andrew’s interpretation of the part.  Various quotes on his version include ‘playfully evil’, ‘anarchic’, and ‘physically animated’.  ‘Go on, give me your Hyde’ I say, and Gareth flops his hair over his eyes and looks at me with the only scary wild eye I can see.  Woah!

Andrew’s performance is tense, restrained, and quietly creepy, and his transformation is utterly believable.  I had five shiver moments during this show, and the one I get when he is ‘stroking’ Lucy during their dark and very well played duet, ‘A Dangerous Game’ is the least pleasant. 

His Hyde gets more mad, twisted, contorted, tortured and frightening as the show goes on.  Whilst I prefer his acting over his vocals, there’s nothing that jars or disappoints, and I can’t take my eyes off him while he’s on the stage.

All of the parts are played well, but the truly shiny performances come from Laura Deacon and Andrew Curtis, and Naomi Ibbetson, whose voice can always be relied on.  There’s not a huge opportunity in this script for anyone else to shine much, to be fair, but Ian Diddams deserves a mention for his brutal brothel keeper, Spider, and Sam Phillis for Stride. 

And there’s no sign of that phenomena, present in more than a few amateur productions, that I call the lumpen chorus.  That’s people just hanging around looking like they’re thinking about egg sandwiches, and what day is it anyway, and oh, is it me now?  There’s none of that, there are all sorts of little cameos going on in the background, everyone’s on point, and no-one attracts the attention of my critical eye.

It’s a great show.  It’s scary, suspenseful, engaging, atmospheric, sexy and spectacular, and Devizes Musical Theatre should be pretty pleased with it.

GAIL FOSTER