Review: Jekyll & Hyde - Teachers' Musical Society

Society name: Teachers’ Musical Society 

Show name: Jekyll & Hyde 

Adjudicator date of attendance: 25/03/2026 

Teachers Musical Society’s production of Jekyll & Hyde was a bold, intelligent, and deeply atmospheric interpretation of a show that demands both technical precision and emotional depth. Set in modern times while still retaining the gothic darkness at the heart of the piece, this production managed to feel both fresh and faithful simultaneously. It was immediately clear that this was a company with a strong artistic vision, and every creative department worked cohesively to support that vision, resulting in a production that felt immersive, stylish, and emotionally compelling from beginning to end. 

Director EJ Reilly delivered an exceptionally strong piece of direction full of imagination and clarity of concept. The decision to modernise the setting worked remarkably well,  proving just how timeless the themes of duality, repression, corruption, and violence truly are. While the influence of the Church perhaps carried slightly less impact in a contemporary setting, the trade-off was a production that felt immediate and accessible to a modern audience. One of the most effective directorial concepts was the use of  Spider and his enforcers as a constant looming presence throughout Hyde’s descent into violence. Their recurring appearances created a sense of dread and inevitability that elevated the tension across the entire production. Combined with the strong use of  colour symbolism, particularly the recurring use of blue and red to represent good and  evil, the production developed a striking visual identity that reached its peak during “The  Confrontation.” 

Another particularly clever choice was the treatment of the ensemble. Rather than creating fully individualised characters, the chorus functioned as a monochromatic,  seething collective presence, representing the oppressive force of society itself. This  imagery was especially powerful during the Wedding sequence, where the ensemble 

almost engulfed the principals in a wave of tension and unease. Character development throughout the production was excellent, with even smaller supporting roles feeling purposeful and well considered. Blocking was consistently strong, and the use of the set allowed scenes to flow seamlessly from one location to another without interrupting the momentum of the storytelling. 

Musically, the production was equally accomplished under the direction of Dermot  O’Callaghan. The band produced a rich, full sound throughout the evening while remaining controlled and supportive of the performers on stage. Tempos were well judged, maintaining a constant drive and urgency beneath the score that perfectly suited the tone of the piece. The choral work was particularly impressive. Harmonies were clear, balanced, and confidently delivered, while diction remained consistently strong throughout. Cueing was excellent, especially considering the complexity of many of the entrances within the score, and the band demonstrated a strong stylistic understanding of the material without allowing the music to become overly sentimental. 

Serena Salmon’s choreography was highly effective and integrated beautifully into the overall concept of the production. The movement language felt contemporary and sinuous, constantly bubbling beneath scenes and transitions, creating a sense of unease and instability that perfectly complemented the themes of the show. There was a clear unity between choreography and direction, with movement emerging organically from the world of the production rather than feeling inserted for spectacle alone.  “Murder, Murder” was particularly effective, with the use of umbrellas creating strong visual imagery, while “Bring on the Men” became one of the standout numbers of the evening. The inclusion of the men within the choreography added greatly to the theatricality and energy of the sequence, which was performed with confidence,  precision, and charisma. 

At the centre of the production was an absolutely outstanding performance from Gavin  Molony as Dr Jekyll and Mr Hyde. His gradual progression into madness was beautifully controlled and completely believable. Rather than presenting an abrupt  transformation, he carefully charted every stage of Jekyll’s deterioration across the course of the show, allowing the audience to witness the slow collapse of a man consumed by obsession and ego.

Vocally, Gavin was superb, meeting the demanding score with excellent control and stamina. What elevated the performance even further was the distinction between the two characters. The changes in physicality, posture,  energy, and vocal quality between Jekyll and Hyde were phenomenal, with Hyde feeling genuinely dangerous and unpredictable. “The Confrontation” was undoubtedly one of the highlights of the evening, executed with extraordinary skill and intensity. 

Jacqueline Brunton delivered an excellent performance as Lucy, combining emotional vulnerability with strong stage presence and vocal power. Her rendition of “Someone  Like You” was beautifully delivered and genuinely moving, creating one of the most emotionally affecting moments of the production. Her emotional journey throughout the evening was extremely strong, and she brought a raw honesty to Lucy’s desperation,  fear, and hope. Particularly effective were her interactions with Hyde, where the fear radiating from her performance was palpable. In contrast, “Bring on the Men”  showcased her charisma and versatility, proving hugely entertaining while still remaining sharply controlled. 

Fiona McManus brought warmth, dignity, and sincerity to the role of Emma. Her relationship with Jekyll felt authentic and caring, grounding the emotional core of the story effectively. Vocally, she possesses a beautiful, legitimate soprano voice ideally suited to the role. There were occasional moments where a more modern belt quality crept into the vocal style during “In His Eyes”, but this was a minor observation within an otherwise lovely and heartfelt performance. 

Ben Cully demonstrated a very nice singing voice as Utterson and clearly understood the loyalty and integrity of the character. There were moments where some nervousness affected the confidence of the acting performance slightly, and a little more energy and dynamism would strengthen the portrayal further, but he remained musically strong throughout. 

Among the supporting cast, John Sweeney gave a solid performance as Simon Stride,  bringing a commanding presence to the role and delivering an enjoyable drunken 

moment during the Engagement Party. Jim Walsh brought warmth and appropriate fatherly authority to Sir Danvers Carew, while Paul Laycock captured the pompous self-importance of the Bishop of Basingstoke particularly well, especially during his interaction with Nellie before his death. Caoilfhionn Ní Dhúlaing gave a particularly strong supporting performance as Nellie. Her physicality was excellent, and the drug-addled nature of the character felt believable without becoming exaggerated. Fully invested in every moment on stage, she demonstrated exactly how much impact can be made from a smaller role through commitment and detail. 

Rob Gallagher was genuinely chilling as Spider, delivering one of the most memorable supporting performances of the evening. He maintained a constant sense of menace whenever he appeared on stage, and his interactions with the wider cast clearly established the fear his character inspired. The performance remained grounded and believable throughout, never tipping into caricature.

Emily Larkin was very effective as  Lady Beaconsfield, capturing the character’s pompous self-importance while also delivering strong vocals. Joanne Logue’s portrayal of Poole worked particularly well,  with the decision to cast the role as female adding an interesting dynamic to the household structure. She brought authority and intelligence to the performance throughout.

Spider’s enforcers — Kevin Johnston, Ueslei Morgan Monterio, Darren  O’Reilly, Sean Lonergan, and Brandon Wright — were excellent both individually and collectively. Their physical presence and movement quality created a constant atmosphere of intimidation and danger that became central to the production’s aesthetic. 

The ensemble as a whole was exceptionally strong. Vocally, they produced a rich,  confident sound with excellent harmonies and diction throughout. Choreographically,  movement was clean and unified, while dramatically, they fully embraced the stylised world of the production. Their transformation into a seething mass during the Wedding sequence became one of the most visually striking moments of the evening. 

The technical and visual aspects of the production were equally impressive. The set  design was simple but highly intelligent, using a largely static structure combined with a 

few moving elements to create numerous locations fluidly and efficiently. The screens were particularly effective, both in terms of image quality and conceptual cohesion,  while the use of live camera footage for Jekyll’s video diary sequences added a contemporary and deeply personal dimension to the storytelling. 

Lighting played a vital role in establishing the atmosphere throughout the evening. The use  of LED strips, wireless tubes, and strong sidelight created striking stage pictures,  particularly during “Bring on the Men” and “The Confrontation.” There were a handful of moments where cueing lagged fractionally behind rapid character switches, but overall, the lighting design was highly accomplished and visually dynamic. 

Sound was generally strong, with a good balance maintained between pit and stage.  There were occasional moments where some principal voices became slightly overwhelmed by the strength of the ensemble sound, and a few solo entrances were clipped, but overall, the soundscape supported the production effectively. 

Costumes, hair, and make-up all contributed strongly to the production’s cohesive visual identity. The monochromatic grey palette for the chorus reinforced the oppressive collective nature of society, while the contrasting blue and red associated with Emma and Lucy continued the show’s strong symbolic language. Jekyll’s costumes were particularly well chosen, charting his progression effectively throughout the story, while the gradual darkening beneath his eyes provided a subtle but powerful visual representation of his psychological decline. 

Front-of-house operations also contributed positively to the overall experience. The audience was welcomed warmly and seated efficiently, creating a strong sense of anticipation before the performance began. The professionalism and friendliness of the volunteers reflected the care and pride clearly invested in every aspect of the production. 

Overall, Teachers Musical Society delivered an exceptionally intelligent and atmospheric production of Jekyll & Hyde. It was visually striking, musically  accomplished, and dramatically compelling throughout, supported by a company fully committed to a clear and cohesive artistic vision. Combining strong principal performances, inventive direction, and highly effective technical work, this production succeeded in creating a theatrical experience that was both emotionally engaging and visually memorable.