This Jekyll and Hyde is very cleverly done, not just for the many plot twists that keep the audience hanging on every word, but for the production values too. The play has to slot in to a theatre which is already home to another long running show, as well as work around the other productions in this rep season, so there’s minimal set, but Laura Hopkins has worked wonders with what’s available. The look is complimented by Harry Linden Johnson’s sound design which continues the trend of mixing old and new.
The whole cast look right at home on a West End stage, if it were not for the NYT branding you’d be hard pushed to tell that these weren’t seasoned professionals. The female leads, Elizabeth McCafferty and Jenny Walser are superb in their respective roles. Marc Benga does an equally fine job as the male lead, with Curtis John Kemlo, as Tommy/Johnny, adding a flourish of humour.
This radical reimagining of Jekyll and Hyde is a joy to behold, with themes of feminism and inequality firmly in the fore. It’s a daring and witty adaptation, and the NYT proves that even old theatre can be new, inventive and exciting.