A gritty and gripping triumph

Compton Players’ new production of The Strange Case of Dr Jekyll and Mr Hyde, adapted and directed by Pete Watt, opened last night with impact and intent. Set in 1979 London - cleverly grounded by a Thatcher voiceover that kicks off the show - this adaptation throws Stevenson’s classic tale into a world of political tension, punk anger and inner-city decay.

What follows is a tight, energetic production that blends the psychological with the political. Watt’s script is lean, sharp, and human - and the cast deliver it with real conviction. The soundtrack, featuring scene change tracks by The Jam and The Clash, is more than just period colour; it drives the action, with the full ensemble executing choreographed transitions that keep the momentum racing. The ensemble never leave the stage, creating a constant atmosphere of watchfulness and tension.

Pete Watt leads as Dr Jekyll, giving a performance full of restraint and rising panic. His Jekyll is haunted and hopeful, desperate to maintain control. George Buckand’s Hyde is twitchy, volatile, and convincingly dangerous - a man who makes you lean back in your seat whenever he enters.

Helen Saxton plays Gabrielle Utterson with calm authority and moral drive, giving the production its emotional centre. Eric Saxton is quietly powerful as Dr Lanyon, whose slow unravelling adds depth to the latter half of the play.

Caroline Edwards, as Poole, Jekyll’s PA, brings sharp timing and a no-nonsense attitude that provides just the right amount of tension-breaking grit. Hollie Genevieve, as Enfield, plays her scenes with real sensitivity and care, giving the audience a voice of quiet empathy amidst the chaos.

Phil Prior is a confident presence as Inspector Newcomen, driving the investigation forward, while Christina Moore adds a memorable dash of stoic realism as Hyde’s landlady.

What really sells this production is its cohesion. Every member of the cast contributes to the atmosphere and pacing. The minimalist set, coupled with moody lighting and that punchy soundtrack, lets the performances take centre stage. It’s fast-moving, gripping, and emotionally resonant - everything you want from a modern adaptation of a classic.

Compton Players have pulled off something ambitious and impressive. Don’t miss it.

JANET ANDERTON

Modern day monster unleashed

It was with some trepidation that I returned to Compton Village Hall on Saturday night. This venue featured heavily in my teenage timeline: the Compton discos of the 1970s were infamous for emotional outbursts and crimes against fashion. But this wasn’t a return to my misspent youth in Berkshire, it was a trip to late 1970s London and the complicated lives of Dr Jekyll and Mr Hyde.

Set against the backdrop of Thatcher’s Britain and enhanced by a soundtrack of explosive music from The Clash and The Jam, this new adaptation by Peter Watt brings RL Stevenson’s classic tale of identity, violence and fear into a modern world of restless change. Some 20 years after his first adaptation of this work, and informed by his own neurodiversity diagnosis, Peter is back to remind us that this gothic allegorical tale of moral corruption is just as relevant now as it was in 70s Britain or the Victorian era.

Striking set design and atmospheric lighting create a mood of suspense and uncertainty. The audience catches glimpses of people at once concealed and then revealed, while doors, walls and mirrors rotate and edge this way and that. A modern, punchy script gives this one act play a rhythm and directness which tells the story in a concise manner. The central performances of Jekyll and Hyde played respectively by Peter Watt and George Buckland, are sensitively and menacingly portrayed and make for compelling viewing: Hyde’s movements and expressions emphasise the hopelessness and misery of his existence. Helen Saxton as Gabrielle Utterson holds the story together by maintaining pace and narrative.

The Compton Players are at ease on stage and their confident performance enables the audience to join them in exploring social anxieties and attitudes to dual identity and repressed sexuality.

During the Q&A session at the end of the evening we found out just how much work has gone into getting this production ready and that George Buckland has ‘loved every minute of it’ a view I’m sure held by the very appreciative audience.

AMANDA HOLLIDAY