Jekyll & Hyde as presented by Gorey Musical Society

Gorey Musical Society

Jekyll and Hyde – the Musical

Monday 7^th April 2025

Well over a century has passed since Robert Louis Stevenson penned his novel, ‘The Strange Case of Dr. Jekyll and Mr. Hyde,’ which pointed to the duality of human nature - the maintaining of a public facade of decency whilst hiding a more sinister side. Mr. Stevenson could hardly have imagined that his dark commentary on 1800s English society would one day become an equally sinister musical theatre production, least of all in an Irish town, so aptly named. The musical version immerses its audience from the very start, holding up a metaphorical mirror as Jekyll proclaims, “In each of us there are two natures.” Gorey Musical Society's production was a thought-provoking, sinister presentation. There were standout performances, some original directorial touches bordering on the downright disturbing and an excellent ensemble, all set against the seedy underbelly of Victorian London.

I received an exceptionally warm welcome as I arrived at Gorey Little Theatre, one of my favourite venues to visit this season. Front of house staff did a great job, organising the capacity audience as they arrived. There was a great sense of anticipation in the foyer for what everyone knew was going to be a great night's entertainment.

Director Stephen Acton brought a very clear vision to this dark tale. From the opening preset of the body on the gurney, dramatically lit from above, we knew that this was going to be a visually interesting production. There was excellent pace and many moments of extreme intensity throughout. There were superbly smooth transitions between scenes, adding greatly to this pace. The cleverly designed set evoked a dark gothic atmosphere, which highlighted the more disturbing elements. The use of the mirror as a powerfully clever theatrical device, representing Jekyll's inner conflict and the emerging darkness of Mr. Hyde, was a fine touch. Mr. Acton has a great eye for staging and there was very good use of the set’s multiple levels. Overall, a very fine job from the talented Mr. Acton.

Conor McCarthy, one of the busiest musical directors on the circuit, did a wonderful job at the helm of this show. He squeezed every delicious drop out of Frank Wildhorn's score. From beautifully sensitive ballads to the full-on ensemble numbers such as ‘Façade’ and ‘Murder Murder,’ there was excellent work from Mr. McCarthy and his exceptional orchestra. There is a lot of underscoring in the show and Mr. McCarthy handled this in a very sensitive manner, sitting on the orchestra to ensure that dialogue was always heard. Principal singing was of an exceptionally high standard. Choral singing was very strong and offstage vocals in ‘Dangerous Game’ and ‘Confrontation’ were exceptionally good. Super work all round.

Choreographer Megan Lopez devised a series of routines which complemented the sinister themes of the show. ‘Facade’ was very sharp and synchronised with great use of stage levels. There was a frenetic, chaotic energy in ‘Murder Murder,’ which mirrored the escalating violence. However, I did feel at times that it was too chaotic and it was difficult to see where the focus was meant to be, as soloists became lost in what was a very busy stage. ‘Bring on the Men’ was a fantastic number and the girls did excellent work in this, although I did feel that one or two could have sold it a little bit more. 

The dual character of Jekyll and Hyde is one of the most challenging roles in musical theatre. The dramatic and vocal requirements are significant and finding someone who can fulfil those requirements is a huge consideration when choosing to produce the show. The key is balancing Jekyll's noble aspirations and idealistic intentions with Hyde's descent into unfettered darkness. Chris Currid delivered a tour-de-force performance in this role. His vocals were, unsurprisingly, top-notch with powerful renditions of ‘This is the Moment’ and ‘Confrontation’ being standout moments, musically and dramatically. His physicality was so impressive. His posture, as Hyde, was astonishing and his dramatic facial expressions were quite hideous, making him almost unrecognisable. Overall, an exceptionally well-played role.

Thomas Furlong was a compassionate John Utterson, who delivered a very solid performance as Jekyll's friend and lawyer. He had strong vocals and very good stage presence. However, Mr. Furlong had to raise a toast with an empty glass. No doubt, he had a word with the props department afterwards. Dramatically, he was very strong, confronting Jekyll about the change in his will and leaving everything to Hyde. This was a powerful moment, really well-played.

Emily Kelly was a standout performer in the role of Emma Carew, Jekyll's fiancée. She brought grace and vulnerability to the role, which contrasted with her fiancée's chaotic existence. She found so many emotional layers and was central to some of the most heart-wrenching moments in the show. Ms. Kelly had a superb, soprano voice and her control was exceptional. ‘Once Upon a Dream’ was a stunning performance, balancing tenderness and power whilst bringing a beautiful, emotional depth to the character. ‘Take Me as I Am,’ with Mr. Currid, was one of the musical highlights of the production.

April Kelly was a fiery and sensual Lucy Harris, playing the role with a palpable, raw emotion that was quite overpowering at times. Her desperation in ‘Someone Like You’ was palpable as she yearned for the love and respect of Jekyll. Her wonderful on-stage chemistry with Mr. Currid was so evident and their scenes together provided many of the show’s dramatic highlights. ‘In His Eyes’ was a standout musical moment which deserved a standing ovation all of its own, such was the incredible level of performance from both Lucy and Emma.

Brendan Sheridan played the role of Sir Danvers Carew with great dignity and concern. He was a devoted father with a very strong vocal. ‘Letting Go’ was a very touching duet with Emma. 

Rónán Ó Dubhghaill was very impressive as Simon Stride, secretary to the board of governors. Mr. Ó Dubhghaill had very strong stage presence and nicely clipped diction which brought gravitas to the role.

Ciara Herron brought a light touch to the role of Lady Beaconsfield. Another member of the board of governors, and a gossip monger, full of her own importance, she was a very good character actress. Her excellent diction was evident throughout and she provided some important moments of levity.

Rory Robinson brought exceptional presence to the role of Bishop of Basingstoke, which made him a standout character in the show. He was despicable as the hypocritical ‘man of the cloth.’ His eventual demise and the scene preceding it, were highly disturbing.

Tommy Cox offered strong support as Lord Savage as did Eamonn Murphy in the role of General Lord Glossop. Both had superb accents and presence, fulfilling their roles very well.

Justin Grimes was well cast as Sir Archibald Proops, a lawyer on the board of governors, who was quick to pour cold water on Jekyll's proposed experimentations

Colin Doran was a very sinister and malevolent Spider, Lucy's vicious pimp. His ominous presence and excellent physicality made him a most despicable character.

Paudie Breen played Mr. Poole, Dr. Jekyll's trusted but increasingly concerned manservant. This was one of the standout performances of the night. Mr. Breen cleverly conveyed the conflict between Poole's loyalty to his employer and his need to do what was right for everyone else. This was an exceptionally strong acting performance, full of clever nuance and understanding. His intelligent, usually subtle, reactions to others, set him apart, demonstrating, once again, that there's no such thing as a small part.

Sinead McLoughlin as Nellie, Anthony Murphy as Bisset, and Michael Doran as Minister, Butler all offered strong support.

A huge part of the show's success was the large ensemble. They were most impressive in their precision of movement and superb vocals and they added so much to the tension with their energy and focus. Mr. Acton had clearly done a lot of work with the ensemble and their dramatic intent and understanding of the narrative was always to the fore. ‘Dangerous Game’ was particularly impressive and I loved the excellent movement and precision of ‘Facade’ (reprise 2).

Stage manager Paul Doran did an excellent job in keeping everything moving. Crew members were efficient and well on top of all of the necessary scene changes. Cast were also utilised and were superbly rehearsed in moving furniture and set pieces as required. The mechanics of Jekyll's laboratory were brilliantly operated in what was a seamless display from crew.We had a cleverly designed set with multiple levels and some very clever touches.

I loved the fabulously clever, rotating Red Rat curtain on the upper level. It was a very simple but clever piece, beautifully finished. Jekyll's laboratory was an incredible feat of engineering, appearing from behind sliding doors and moving downstage in a moment of theatrical magic. Overall, this was a wonderful set which suited the style of production very well and offered excellent staging choices for director and choreographer. 

I would describe the lighting for this show as simple but effective. It was a good solid lighting plot, dramatic but with no crazy effects. There was good use of follow spot throughout. However, it felt as its operation needed work as it was quite shaky at times. After Jekyll's first transformation into Mr. Hyde, the follow spot seemed to be playing catch-up with Hyde and was just a fraction behind him as he moved around the stage. ‘Confrontation’ worked quite well but I did feel that this hugely climactic number was a missed opportunity for more creative and dramatic lighting.

Elements of the sound in this show were exceptionally good. We could hear every word of dialogue and underscoring, which is always refreshing. Vocals always sat on top of the accompaniment, ensuring that songs drove the narrative. Just as it should be. There was very good balance within the orchestra. I did feel that the neck breaking sound effect needed to be better coordinated with the on-stage action at times, as, occasionally, the sound effect came after the physical act and sometimes it even came before. It felt like more rehearsal was needed for these moments. 

Props were very well chosen with great attention to detail. The scientific equipment and paraphernalia in Jekyll's lab, such as display jars and chemicals, were very detailed. The antique wheelchair looked amazingly authentic. Furniture was all appropriate to the era. However, my one concern in relation to props was that cast appeared to be ‘drinking’ from empty glasses. Small details like this can jar when everything else is so detailed.

Costumes were excellent across the board, evoking the Victorian era so well. Costumes reflected the period and social standings of the characters and there was wonderful attention to detail. Some of the principal characters needed additional costumes to signify time passing. This was particularly noticeable with Jekyll/Hyde and Utterson.

There was great attention to detail also in the hair and makeup department. I loved the simplicity of using Mr. Currid's own hair for his transformation into Mr. Hyde. Stride's handlebar moustache was a very nice touch and, overall, hairstyles and makeup were very detailed and appropriate to the era.This was a powerful, thought-provoking version of ‘Jekyll and Hyde’ which was violent, murderous and, at times, disturbing. What a pleasure it was to see Gorey Musical Society’s incredible wealth of talent. It was more than a moment. It was a theatrical experience that will live long in the memory…and the nightmares!

Pat McElwain

Gilbert Adjudicator 2024/2025

Photos by Darragh Carroll