Natasha Jones’s Lucy Harris and Joe Gregory’s Dr Jekyll in 1812 Theatre Company’s Jekyll & Hyde The Musical. All pictures: Helmsley Arts Centre, Joe Coughlan Phtography
IN their 30th anniversary year, Helmsley Arts Centre’s resident troupe, the 1812 Theatre Company, staged a musical for the first time.
The Old Meeting House stage is not the biggest, yet still Julie Lomas’s cast could accommodate 22 players in that compact space, with the full company number Murder! Murder! being one of the highpoints for cast and choreographer Michaela Edens alike.
Lomas is an experienced directorial hand from her days at The Grange Theatre, Walsall, where she directed Frank Wildhorn and Leslie Bricusse’s Broadway musical for the Grange Players. Likewise, musical director John Atkin had filled the same role for York Musical Theatre Company in May last year.
Know-how and experience duly combined with fresh ideas to good effect in this musical retelling of Robert Louis Stevenson’s novella of love, betrayal and murder.
Sarah Barker’s brothel madam, Aunt, in Jekyll & Hyde The Musical
Two keyboards, guitar and drums took care of business with panache, Atkin and cohorts Cameron McArthur, Paul McArthur and Joe Brooks being equally at home with big ballads in the Lloyd Webber mode and the sly wickedness shared with Sondheim’s Sweeney Todd: The Demon Barber Of Fleet Street.
Sue Elm, Michael Goslin and Peter Ives’s set was built on two levels, both of them busy with human traffic in the ensemble numbers but best suited to the duets and profusion of solo numbers. Dr Henry Jekyll’s laboratory had to be rather squeezed in at the back but thankfully Joe Gregory is whippet slim.
The Gothic colour scheme of red walls and black doors was particularly effective when matched by the attire of the Victorian prostitutes of the Red Rat, and the use of masks was striking too.
This was CharlesHutchPress’s first encounter with Joe Gregory, and what an impressive lead performance he gave as the handsome/devil conflation of the upstanding, urbane but obsessive Jekyll and vengeful, sadistic, deranged alter ego Hyde welled up from within, once the doctor dares to dabble in reckless scientific experimentation in the cause of research for mental illness.
Joe Gregory’s urbane but obsessive Dr Jekyll
No Hammer Horror histrionics to report here on the journey to the dark side and an inner struggle between good and evil, scientific learning and carnal carnage. Instead, Gregory became more forceful of voice and manner, his movements staccato, stealthy and seductive, his actions ruthless, as brisk and lean as a bull fighter beneath a cocked hat.
The contrast was greater in his singing of the largely narrative songs, where notes would be deliberately strained in Hyde’s more urgent, guttural delivery, never more so than in The Confrontation, the Act Two vocal wrestling match for control in this dangerously dual personality.
It cannot be every arts centre where the artistic director (and youth theatre director to boot) happens to be the stand-out singer and actress for the resident company too. Step forward Natasha Jones, who was a knockout as Lucy Harris, the love-struck but self-protective prostitute, at once feisty but fearful and vulnerable.
What a voice; what expressiveness. Each and every one of Lucy’s solo songs was better for her singing it, having first teased and tantalised provocatively among the saucy prostitutes in Bring On The Men.
Natasha Jones’s Lucy Harris: “What a voice. What expressiveness”
Her duets with both Gregory’s Jekyll and Hyde fizzed with electricity and, in between, her duet with Amy Gregory’s Emma Carew, Dr Jekyll’s trusting, unknowing fiancée, was Amy’s peak moment too.
As befits a romanticist scientist, Gregory’s Dr Jekyll had chemistry with both women, one relationship tender if preoccupied, the other tactile and voracious, as the chemically altered Hyde gradually prevails, both possessed and possessive.
John Lister’s John Utterson, Kristian Gregory’s Simon Stride, Richard Noakes’s Sir Danvers Carew, Barry Whitaker’s Bishop of Basingstoke, Sarah Barker’s brothel madam, Aunt, and Esme Schofield’s Newsgirl all had their moments in a show best known for Dr Jekyll’s belter This Is The Moment.
It was enjoyable too to spot Rowntree Players’ riotous pantomime dame, Graham Smith, in a deliciously wicked cameo as Sir Archibald Proops QC, a law unto himself indeed.
Joe Gregory’s Dr Jekyll finds peace at last in the arms of Amy Gregory’s Emma in the finale to Jekyll & Hyde The Musical
Julie Lomas directing a rehearsal for 1812 Theatre Company’s production of Jeklly & Hyde The Musical
JULIE Lomas directs Helmsley Arts Centre’s resident troupe, the 1812 Theatre Company, in their first ever musical production, Frank Wildhorn and Leslie Bricusse’s Jekyll & Hyde, from tomorrow.
In Robert Louis Stevenson’s story, a devoted man of science, Dr Henry Jekyll, is driven to find a chemical breakthrough that can solve some of mankind’s most challenging medical dilemmas. Indeed, he is trying to discover cures for what now would be recognised as dementia and Alzheimer’s disease.
Rebuffed by the powers that be, he decides to make himself the subject of his own experimental treatments, accidentally unleashing his inner demons along with the man the world would come to know as Mr Hyde.
1812’s cast features husband and wife Joe and Amy Gregory in the lead roles of Jekyll/Hyde and Emma Carew. John Atkin is the musical director; Michaela Edens, the choreographer.
Here Julie discusses 1812 Theatre Company’s 30th anniversary production with CharlesHutchPress.
How did you land this directing gig? Were you head-hunted or did you pitch for it?
“An 1812 Theatre Company member suggested that the company should do a musical at the annual general meeting. Apparently, others had been talking about wanting to do it for some time.
“The committee discussed this and I said that if they would like to go ahead, I had experience as a director in musical theatre and would love to do it.”
What attracted you to directing Jekyll & Hyde The Musical?
“I love musicals that dramatic enough to ‘move’ an audience emotionally. There are not many of these that are available for amateurs to perform. I feel that there are several opportunities for this in Jekyll and Hyde.
“With its dramatic strengths and less choreographic content, it is a suitable choice as a first musical for this company.
“Plus, I’ve directed it before for the Grange Players in Walsall. This actually made me think very carefully as I prefer not to repeat anything, but this was a musical that I was driven to do again. My concept this time is different, a contemporary treatment but still in a Victorian setting.”
What is your directing background?
“Having performed in several plays for The Grange Theatre, Walsall, I was asked if I would like to direct. My first play was Kindertransport by Diane Samuels, and after that I never looked back.
“I directed several plays there, including Rebecca, Accrington Pals and The End Of The Affair but my favourite by a long way was Peter Schaffer’s Amadeus.
“I think it was being able to bring together my love of music, fabulous period costume, make-up and wigs plus the wonderful tragic plot line and enigmatic characters. I was fortunate enough to win a regional NODA (National Operatic and Dramatic Association) award for that production, which I treasure.
“I moved into directing a musical there and then directed one professionally for Brownhills Musical Theatre Company, Sweet Charity.”
Do you now specialise in musical theatre?
“I’m keento embrace many types of theatrical productions. I’ve been a soloist singer since the age of eight and have been lucky enough to have had many fantastic principal roles in musical theatre. My favourites were Mrs Lovett in Sweeney Todd: The Demon Barber Of Fleet Street, Dorothy Brock in 42nd Street and Sally Bowles in Cabaret.
“So, although I cannot say that I specialise in musical theatre, there’s absolutely nothing that compares with the feeling of being part of a musical, as a performer, director or crew member.”
What brought you to Helmsley?
“I moved to North Yorkshire to be geographically close to my son and his wife and see more of my grandchildren. My eldest son and his family live in Sheffield, so I can commute there too.
“However, it’s a great place to live in its own right, the peaceful countryside around here is a sheer delight and Helmsley is the prettiest town in which to rehearse and perform! I was looking for a theatre company that would feel like ‘home’ to me and I felt welcomed from the start. The theatre itself is lovely, providing an intimate theatre space, modern studio bar and leafy courtyard.
“I live in Westow, a village just outside the Howardian Hills area. I now consider the Helmsley Arts Centre to be my base. In a few years, even with the lockdown, I have already performed there, worked backstage for a production and I’m also a member of the management committee.”
Any thoughts on why 1812 Theatre Company has not staged a musical in its 30 years until now?
“I would imagine it’s because when the company was set up, the idea was for members to perform plays. However, it’s so much more diverse now. In the past 12 months alone we’ve performed plays, a rehearsed reading, an indoor/outdoor production in Helmsley Walled Garden, a hugely successful pantomime and now a musical!
“We’re hoping that this variety will both entice new members, who are always welcome, and encourage retention of existing members.
“The other more sombre answer is that to produce a musical is expensive and we’re hoping to have good audiences, not only to see the amazing performances, but also from a financial perspective.”
What are the strengths of Bricusse and Wildhorn’s songs?
“As we’re repeatedly told by our musical director, John Atkin, this is not an easy musical score. However, it’s such a beautiful one with melodies that linger long after the show is over.
“It allows performers to do just that: perform the music, rather than just sing it, and we have worked hard to bring that to the stage. It provides a tour de force for the eponymous actor, Jekyll, which climaxes with him singing a duet with himself, as Hyde. Joe [Gregory] has excelled in the role and I’m sure audiences will appreciate his performance.”
Is this the first time you have worked with musical director John Atkin?
“It is, and I’m hoping it will not be the last. As soon as I met him, I knew the production was in safe hands. He’s an extremely talented musician and wonderful to work with.”
A husband and wife, Joe and Amy Gregory, will lead your cast as Jekyll/Hyde and Emma Carew. What does their personal relationship bring to their stage partnership?
“It’s rare for there to be such chemistry between the two romantic leads – even if they do happen to be married! Joe and Amy have such a special relationship, and in their case, this comes across immediately.
“They’re also both lovely people and in all my time directing, I have genuinely never met anyone more joyous to work with. They are committed, passionate performers who will work hard to deliver what you’re aiming for as a director yet also contribute actively to the creative process.”
What is the message of Jekyll & Hyde in our 21st century world, where tampering with science may well have led to Covid?
“Good question. I suppose the message is that research does not always deliver the desired results. Sometimes though, even the unexpected results can turn out to be beneficial. There are many drugs that are used for things for which they were not intended in development.
“As a hospital pharmacist by profession, I was interested in this angle of drug research in psychiatry with Dr Jekyll. Even today, we still know comparatively little about the causes of mental illness and effective drug therapy is limited.
“Also, if you consider the possible effects of hallucinogenic drugs, the concept of a ‘Dr Jekyll’ and ‘Mr Hyde’ characterisation after injection is not so far-fetched.”
What will be your next theatrical project?
“My next project for 1812 Theatre Company is to mentor a first-time director, Sarah Barker, as she directs ’The Kitchen Sink [Hull playwright Tom Wells’s tender comedy of big dreams and small changes in a Withernsea, East Yorkshire family].
“We like to encourage members to consider directing and have a few people that are interested, but it’s important that they have someone to support them through the process.
“I think the big question is, will I ever direct another musical for 1812. Who knows? This production has consumed every moment of my life for the past six months, and a fair few moments in the months before that.
“I’d like to think so. What I do know, though, is that my passion for musicals will never die, unlike a number of Jekyll’s victims!”
1812 Theatre Company in Jekyll & Hyde The Musical, Helmsley Arts Centre, July 5 to 9, 7.30pm. Tickets: £15, under 18s, £7.50, from the arts centre, on 01439 771700 or helmsleyarts.co.uk. Age guidance: Suitable for 13 plus.
Steven Jobson’s Edward Hyde and Nicola Holliday’s Lucy Harris
York Musical Theatre Company in Jekyll & Hyde The Musical, York Musical Theatre Company, Joseph Rowntree Theatre, York, 7.30pm tonight; 2.30pm and 7.30pm tomorrow. Box office: 01904 501935 or at josephrowntreetheatre.co.uk.
ON the only previous time CharlesHutchPress encountered Leslie Bricusse and Frank Wildhorn’s Broadway musical, at Leeds Grand Theatre in July 2011, this was his verdict.
“In a nutshell, it is a very good performance of a not particularly good musical adaptation of Robert Louis Stevenson’s novella that has but one memorable song, This Is The Moment,” he wrote, before concluding: “A deliciously wicked way to spend tonight or tomorrow awaits you”.
Eleven years on, This Is The Moment continues to stand out, but once more, Jekyll & Hyde The Musical’s story of love, betrayal and murder hits the mark in performance, this time under the gothic-inspired direction of Matthew Clare.
The aforementioned 2011 touring production relied on the handsome pop star chops of Marti Pellow in the dual role of upstanding, if obsessive Dr Henry Jekyll and his vengeful, sadistic, chemically altered alter ego, Mr Edward Hyde.
Director Matthew Clare
Clare goes with freelance actor, singer and voice actor Steven Jobson, whose love of performing was triggered by witnessing The Phantom Of The Opera at the age of 14, another show that ventures deep into the dark side.
Jobson can certainly act; he sings Jekyll & Hyde’s difficult, impassioned, narrative-driven songs adroitly too, and you can hear why he is a voice actor as he switches between the urbane, educated, tenor airs of the romantic scientist Jekyll and the guttural bass growl of Hyde, ably retaining the distinction in song.
In one early moment, his agitated singing voice for Hyde becomes muffled in the sound mix, but let’s put that down to this being the first night.
Jobson is equally convincing in his physical transformations, never straying into Hammer Horror melodrama. His monstrous madman always lurks within, those inner demons brought to the surface by reckless scientific brio as much as by his experiments.
Alexandra Mather vowed to make Jekyll’s trusting, unknowing fiancée, Emma Carew, more three-dimensional than on the page, and she delivers on that promise in her characterisation, while her pure, operatic voice wholly suits the score.
Nick Sephton’s Sir Danvers Carew
Director Clare has decided to split the role of love-struck but fearful prostitute Lucy Harris between York musical theatre regular and radio presenter Claire Pulpher (next performance, Saturday matinee) and Scarborough professional Nicola Holliday in her YMTC debut. Holliday was on duty on Wednesday, growing into her performance the more she sang, conveying both Lucy’s untrusting, self-protective nature and quest for love.
Strong support comes from Anthon Gardner’s lawyer John Utterson and Nick Sephton’s Sir Danvers Carew, and the ensemble relishes Bring On The Men, choreographed sassily by Hannah Wakelam.
John Atkin’s band is in good order throughout, steering the path between big balladry in the Lloyd Webber mode and a sly wickedness more in keeping with Sondheim’s Sweeney Todd: The Demon Barber Of Fleet Street.
Costumes and wigs serve the primary role in evoking the Victorian era; the plain set design, by comparison, is a modern construction of metal stairways and a mezzanine level, more in keeping with a pop concert, but the use of blue lighting to denote Jekyll and red for Hyde is effective. Everyone stands, no-one sits, such is the restless, unrelenting, unnerving progression from Jekyll to hellish Hyde.
Director Clare had called Jekyll & Hyde a “niche musical”, but he has successfully brought it out of the shadows, and in Steven Jobson he has found just the man for the job.
Steven Jobson, who plays Jekyll/Hyde, and Nicola Holliday, in the role of Lucy Harris, pictured at York Castle Museum
YORK Musical Theatre Company are marking their 120th anniversary with a new staging of Jekyll & Hyde The Musical.
Directed by Matthew Clare, York’s longest-running amateur theatre company are presenting Robert Louis Stevenson’s story of love, betrayal and murder from May 25 to 28, when the epic struggle between good and evil comes to life to the pop-rock score of Grammy and Tony Award-nominated Frank Wildhorn and double Oscar and Grammy-winning Leslie Bricusse.
Jekyll & Hyde has been described as a “niche musical”, prompting Matthew to say: “It was first done in Texas in the 1990s and it’s true it’s not been done commonly. Maybe its subject matter is off-putting to those who want something more family orientated: Annie comes without seven murders, doesn’t it – and I once did 17 productions of Annie in one year!
“But given that the music is phenomenal, we stood the chance of getting a really good cast, doing some music nights with musical director John Atkin going through some of the score, and we ended up with a really good turnout for the auditions.”
Among those auditionees was Glyndebourne Academy alumna Alexandra Mather, who will play Emma Carew. “The music has some operatic elements and strong musical theatre ones too,” she says.
“So, the show has that crossover appeal between the populism of Lloyd Webber and the sophistication of Sondheim. It’s Phantom meets Sweeney Todd, with the big power ballads for the Lloyd Webber factor and the interplay of Sondheim in the ensemble scenes.”
Matthew Clare: Directing York Musical Theatre Company’s production of Jekyll & Hyde The Musical
Stevenson’s tale of two men – one, a doctor, passionate and romantic; the other, a terrifying madman – and two women – one, beautiful and trusting; the other, beautiful and trusting only herself – finds both women in love with the same man and both unaware of his dark secret.
A devoted man of science, Dr Henry Jekyll is driven to find a chemical breakthrough that can solve the most challenging of medical dilemmas. Rebuffed by the powers-that-be, he decides to make himself the subject of his own experimental treatments, accidentally unleashing his inner demons, along with the man that the world would come to know as Mr Hyde.
“It’s a really powerful story rooted in Dr Jekyll looking for a cure for his father’s dementia,” says Matthew. “Most people can probably sympathise with that emotion, that desire, but the issue is that he becomes obsessed with it.”
Alexandra adds: “Jekyll doesn’t have a way to pursue this through the proper channels because it’s a one-man crusade and he ends up having to push Emma away because of what he’s doing.”
Anthony Gardner, cast as lawyer John Utterson, joins in: “Hyde is a diminished part of Jekyll. He’s juxtaposed with Utterson, who has all the correct moral values and represents stability.”
Matthew notes how Hyde is the only honest character in the story. “That’s a really weird thing to say about your villain, who’s always within Jekyll.”
“It’s Phantom meets Sweeney Todd,” says principal cast member Alexandra Mather, describing the musical style of Jekyll & Hyde
How we might behave in any given situation depends on where we are in our lives, suggests Alexandra. “We are not constant,” she says. “Depending on where we are, it can bring out that other side.”
Anthony is playing “one of the more relatable characters”. “Utterson is Jekyll’s best friend but he’s also someone who steps out of the story and becomes a narrator, so as such his voice is one of the ones you can trust,” he says.
“He’s desperate to save his friend but he’s also blind to his faults so he’s always one step behind.”
Anthony has been “knocking around I don’t know how many companies all these years”, from York Light Opera Company to York Opera, the Bev Jones Music Company to York Musical Theatre Company. “But the draw to Jekyll & Hyde for me was very specific,” he says.
“I met my fiancée doing an abridged version at the ROSS Musical Theatre Performance School at Lancaster: a 45-minute version that still had all the murders and the full story.
“I had to play two characters: my first take on Utterson, a role suited to my style, and Spider; my now fiancée was playing Lucy Harris, the prostitute, and now she’s playing Lady Savage next week.
Devoted man of science: Steven Jobson’s Dr Henry Jekyll
“We’re due to get married next year. We got engaged over lockdown, and we’ll be getting married on Kirkgate at York Castle Museum, where, as it happens, we did the photocall for Jekyll & Hyde.”
Anthony’s bride-to-be is Elizabeth Vile. “No, she will not be keeping her maiden name! I had always thought I would go double-barrelled when marrying, but ‘Vile Gardner’ doesn’t quite work, does it?!”
Should you be seeking further reasons to be “immersed in the myth and mystery of 19th century London’s fog-bound streets” in Jekyll & Hyde, here are two more from director Matthew.
“Because of Covid, York Musical Theatre Company haven’t had a full-scale production for two years since Jesus Christ Superstar, just a couple of online concerts, so it’s great to be back,” he says.
“It’s also very interesting to have two performers playing Lucy – Nicola Holliday on Wednesday, Friday and Saturday evening; Claire Pulpher on Thursday and at the Saturday matinee – and seeing how they play her in their different ways.”
York Musical Theatre Company in Jekyll & Hyde The Musical, Joseph Rowntree Theatre, York, May 25 to 28, 7.30pm and 2.30pm Saturday matinee. Box office: 01904 501935 or at josephrowntreetheatre.co.uk.
Copyright of The Press, York
York Musical Theatre Company’s poster artwork for Jekyll & Hyde The Musical
York Musical Theatre Company’s artwork for Jekyll & Hyde The Musical
REHEARSALS are underway for York Musical Theatre Company’s May staging of Jekyll & Hyde The Musical.
“The production team were blown away by the high standard of talent that attended the two days of auditions in January, resulting in a very tough task in the casting of roles,” says company stalwart Mick Liversidge. “In fact, deliberation went on to the early hours of the morning after the final auditionee had left on the second day.
“YMTC feel that the resulting cast will deliver a fantastic show, worthy of marking the company’s 120th year. Rehearsals began on Monday and the cast couldn’t wait to get stuck into the sumptuous music of this fabulous show.”
Based on Robert Louis Stevenson’s classic story, the epic struggle between good and evil comes to life on stage to the thrilling pop-rock score of Grammy and Tony Award-nominated Frank Wildhorn and double Oscar and Grammy-winning Leslie Bricusse.
An evocative tale of two men – one, a doctor, passionate and romantic; the other, a terrifying madman – and two women – one, beautiful and trusting; the other, beautiful and trusting only herself – finds both women in love with the same man and both unaware of his dark secret.
A devoted man of science, Dr Henry Jekyll is driven to find a chemical breakthrough that can solve the most challenging of medical dilemmas. Rebuffed by the powers-that-be, he decides to make himself the subject of his own experimental treatments, accidentally unleashing his inner demons, along with the man that the world would come to know as Mr Hyde.
York Musical Theatre Company invite audiences to “be immersed in the myth and mystery of 19th century London’s fog-bound streets, where love, betrayal and murder lurk at every chilling turn and twist” in the May 25 to 28 run at the Joseph Rowntree Theatre, York.
Tickets are on sale on 01904 501935 or at josephrowntreetheatre.co.uk. For the Early Bird discount of £2 off each ticket, use the promo code JEKYLL22HYDE when booking online.
Jekyll & Hyde cast:
Dr Henry Jekyll/Mr Edward Hyde: Steven Jobson Emma Carew: Alexandra Mather Lucy Harris: Nicola Holliday & Claire Pulpher (shared role) John Utterson: Anthony Gardner Sir Danvers Carew: Nick Sephton Simon Stride: Matthew Ainsworth Lady Beaconsfield: Helen Spencer Lady Savage: Elizabeth Vile Archibald Proops: Ryan Stocks General Glossop: Rob Davies Bishop of Basingstoke: Ryan Richardson Spider: Ben Caswell Nellie: Erin Keogh
York Musical Theatre Company’s poster for next May’s production of Jekyll & Hyde The Musical
YORK Musical Theatre Company is seeking to attract new members to take part in next year’s exciting shows to marks its 120th anniversary.
First up will be Jekyll & Hyde The Musical, directed by Matthew Clare, with musical direction by John Atkin, at the Joseph Rowntree Theatre, York, from May 25 to 28.
An introductory evening will be held on Thursday, January 6 at 7.30pm at Poppleton Methodist Church Hall. “This will be a chance for anyone interested in being involved with the show to meet the production team and chat about auditions, rehearsals, the characters, the plot and the music,” says new committee member Mick Liversidge.
“There’ll be auditions for all character and ensemble roles on Saturday, January 15, from 11am to 3pm, and Tuesday, January 18, from 7.3pm to 9.30pm, again at Poppleton.”
Based on Robert Louis Stevenson’s thriller The Strange Case Of Jekyll And Hyde, the musical sets the gripping tale of a brilliant mind gone horrifically awry to a powerful pop-rock score by Frank Wildhorn, with book and lyrics by Leslie Bricusse.
“Jekyll & Hyde The Musical should be a truly memorable show to celebrate York Musical Theatre Company’s 120th year,” says committee member and actor Mick Liversidge
In attempting to cure his ailing father’s mental illness by separating “good” from “evil” in the human personality, talented physician Dr Jekyll inadvertently creates an alternate personality of pure evil, dubbed Mr Hyde, who wreaks murderous havoc on the city of London.
As his fiancée, Emma, grows increasingly fearful for her betrothed, a prostitute, Lucy, finds herself involved dangerously with both the doctor and his alter ego. Struggling to control Hyde before he takes over for good, Jekyll must race to find a cure for the demon he has created in his own mind.
“The music for this show is sumptuous, with some fabulous moving numbers for the lead characters to perform, backing up a truly bittersweet story of love, passion, sex and murder, mixed with both the physical and mental struggles of Dr Jekyll to vindicate his medical theories,” says Mick.
To register for an audition, send an email to: auditions@yorkmusicaltheatrecompany.org.uk. “The auditions are open to anyone who wishes to be involved in what should be a truly memorable show to celebrate York Musical Theatre Company’s 120th year,” says Mick.
