'We sit spellbound': Five stars for Sydney Theatre Company's new Jekyll and Hyde | JohnRShand
How to depict the splintering of a psyche, not just into two, but into endless multiples of two – into all the fractured souls that lie between Henry Jekyll and Edward Hyde? That is the conundrum director Kip Williams sought to solve in his follow-up piece of “cine-theatre” after the astounding artistic success of STC’sDaniel Boud
It is the interaction between the multiple moving screens that especially catches Stevenson’s tone, however. The images of the actors are teased and jangled, so part of a head – say just the chin – is on one screen, while the mouth, nose and eyes appear on another. It’s an extraordinarily effective device for encapsulating and communicating internal worlds of mental dysfunction and moral decay.
Were Backer’s reactions more exaggerated, the work’s inherent melodrama would swiftly become dominant, and the audience would titter rather than being transfixed. Indeed, there is occasional laughter, but it comes as a reaction of wonderment to the mind-boggling virtuosity of the production itself; a virtuosity that manages to keep replenishing itself.
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