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Orange Tree Theatre, Richmond – until 4th February 2023

Reviewed by Bobbi Fenton

4****

Apparently, every heart has about Two Billion Beats in it. It beats two billion times, and then we die. This explains why smaller animals, such as hamsters that aren’t actually hamsters, whose hearts beat faster, die sooner than humans. This is the wisdom of year ten student Bettina (Tanvi Virmani). This play is a wonderful commentary on living in a world where you can’t create the rules, and what you actually do with your life. The character Asha draws on the life of B R Ambedkar, mirroring this with the Suffragettes, specifically the Marxist Silvia Pankhurst. This is very effective in creating a mirror between their struggles for rights, and the current socio-political climate and inequality based on race.

The play opens with Asha (Shala Nyx) a year thirteen student, and her younger sister Bettina (Tanvi Virmani) arguing about getting the bus home together. Shala Nyx and Tanvi Virmani are brilliant at quickly establishing the very familiar dynamic between an older sibling who finds their younger sibling incredibly irritating.

In the first scene, Asha describes a critical essay she has written about Gandhi and Ambedkar, getting 85% on this essay. And yet her teacher is outraged when Asha does the same thing with her idols, the Suffragettes. Asha comments on how Mrs L seems to be okay when Asha is critical of historical figures when they are “Brown dudes” but cannot stand anyone being critical about the Suffragettes and how Emeline and Christabel Pankhurst turned their backs on Silvia Pankhurst at the start of the First World War. This allows Asha to notice and acknowledge her teacher’s unconscious bias, and later enables her to explore this issue in wider society, when a boy is falsely accused of a crime and automatically assumed to be dangerous because he is a Muslim.

This play, expertly written by Sonali Bhattacharyya, is fantastic, and truly highlights how important it is to use your two billion beats wisely.

Aylesbury Waterside – until Saturday 28th January 2023

Reviewed by Julia Spargo

3***

Strange things are afoot in twelve-year-old Alfie’s town. As children lose their teeth and leave them under their pillows for the tooth fairy, instead of money they are finding squashed toads and bats’ wings under their pillows.

When Alfie’s dentist has a strange and unexplained “accident”, he is replaced locally by Miss Root. Miss Root arouses Alfie’s suspicions almost immediately, and after she removes all his teeth during his first visit, Alfie sets about trying to discover the truth about his town’s new dentist.

The first half of this production by Neal Foster is used to introduce the characters. Alfie (Sam Varley) lives at home with his dad (James Mitchell), a wheelchair-user with a progressive lung condition caused by working in the mines. A social worker, Winnie (the fresh and funny Misha Macolm) visits the house to assist Alfie and his dad, and ends up getting involved in slightly more than she bargained for. Alfie goes to school with Gabz who is categorically “not his girlfriend”, but is a great partner-in-crime, and played with verve by Georgia Grant-Anderson. Miss Root (the statuesque Emily Harrigan) is an over-the-top pantomime villain. At the end of the first half, Alfie unwillingly visits Miss Root for a check up at her surgery, where she also keeps a menacing white cat. All cliches are in place to indicate that this visit is not going to go well.

The second half warms up considerably with the introduction of the character Raj, played brilliantly by the scene-stealing Zain Abrahams. A set-piece of toilet humour involving Winnie and some chocolates had the children in the audience rolling around with laughter. The last twenty minutes, involving a chase into a mine, chandeliers made of human teeth, kidnap and death, could be frightening for younger children but my mini-reviewers were aged between 10 and 14 years and remained very engaged. Some very effective use of sound and lighting made them jump a few times, but I would say the production is geared for ages 8-11. There are a few songs, but apart from a touching duet between Alfie and his dad, none of them were particularly memorable, though were carried well by the cast of strong voices, particularly Alfie and Miss Root.

The second half of Demon Dentist was a lot pacier than the first, and considerably funnier. My young critics rated the play a 9 out of ten; more generous than me, but then I have odontophobia, and tooth removal features heavily in the first half, along with realistic and somewhat sickening sound effects!

Dominion Theatre – until 29th April 2023

Reviewed By Emily Cliff

5*****

I must admit when writing this review that it is not my first time seeing Dirty Dancing on the West End, I was lucky enough to witness the fantastic show last year. But my my, what a difference a year makes. I said it last year and I will say it again, the experience of Dirty Dancing on stage is an unmissable, fantastic and simply magnetic experience that you cannot skip out on.

Compared to last year’s production, it seems like there has been more content from the film added into the onstage productions. Small yet iconic scenes and interludes that we missed last year were included in this year’s stage production. For example, that iconic interlude of Baby Housman dancing over the bridge after a dancing lesson with Johnny was something we missed out on last year. Perhaps with the new producer on the project we can only expect this to get better and better.

Reprising their roles as Baby and Johnny, Keira Malou and Michael O’reilly shared the same electric chemistry they did last year. Making each scene widely sexy, stylish and sleek. Last year marked Kiera Malou’s West End Debut, and oh my god what a debut it was. Over 12 months you can really see the improvement in Keira’s dancing and acting, showing more strength in lifts and more confidence in owning the stage. As ever, Micheal O’reilly charmed and captivated the audience with his performance as Johnny Castle. With the amount of wolf whistles and screams the audience let out at that scene you would think we were at a One Direction show.

Now of course, the elephant in the room – THE lift. The pair made this extremely difficult dance lift seem so effortless I almost attempted it in my living room when I got home. It must have taken weeks of training rehearsing to get it perfect, sitting here talking about it now my mind is still completely blown away by the stamina and strength of the dancers on stage. All of the company numbers were performed with just the right amount of energy, and nobody seemed like they were trying too hard.

I think it is fair to say that this show has painted the town pink once again, dripping with sex appeal. You do not want to miss this show. From the amazing cast to the brilliantly self aware comedic scenes Dirty Dancing on stage is truly something special. Supported by a fantastic cast, and extremely talented on stage band and the most iconic and wonderful soundtrack, once again i am telling you to listen to your Hungry Eyes and trust me, you will have the Time of Your Life.

• YOU CAN DANCE, YOU CAN JIVE! NEW BOOKING PERIOD ANNOUNCED FOR MAMMA MIA! THE PARTY AT THE O2, LONDON

• LONDON’S PREMIER DINING EXPERIENCE IS EXTENDING TO 3 SEPTEMBER 2023

Due to extraordinary demand, MAMMA MIA! THE PARTY, London’s premier dining experience is extending to 3 September 2023 at The O2, London with tickets on sale now

The current cast performing at Nikos Taverna on the Greek island of Skopelos each night includes Javier Rasero as Nikos, Scarlet Gabriel as Debbie, Luke Friend as Adam, Noah Sinigaglia as Konstantina, Rosie Rowlands as Bella (at certain performances), Jamie Birkett, Caline Hampartzoumian, Robban Hogstrom, and Maison Kelley. They join Lorraine Chappell, who will continue in the role of Kate, Dawn Spence as Grandma, Allie Ho Chee as Bella (at certain performances), Claudia Bradley and Ellis Dackombe. Tamara Perks will play the role of Nina, and Oscar Balmaseda will play Fernando.

The musicians are John Donovan, Luke Higgins, Kathryn Tindall, Steve Rushton and Luke Roberts.

Created by ABBA’s Björn Ulvaeus, MAMMA MIA! THE PARTY is a unique and magical experience in a class of its own, bringing all ABBA’s hits to life more vividly than ever before! Over the course of four glittering hours, guests can immerse themselves in a spectacular musical extravaganza, a four-course Greek feast and an ABBA disco, all in one unforgettable evening of dancing, dining and singing!

MAMMA MIA! THE PARTY is set in a taverna on the beautiful Greek island of Skopelos, where most exteriors of the first MAMMA MIA! film were shot. Nikos and his wife Kate run this exotic and wonderful restaurant together with their family and friends. Told through dialogue and timeless ABBA songs, a warm, romantic and funny story evolves and unfolds during the evening, taking place around the guests as they enjoy a gourmet Greek meal. The evening ends with a 1970s disco, where audience members are welcome to stay to sing and dance to ABBA recordings.

Food is at the heart of the experience and a menu has been created that delivers the finest Greece has to offer, made from the best, freshest ingredients. Guests are served a traditional mezze followed by the iconic Greek salad of fresh tomatoes, cucumber and feta. The main course of confit lamb shoulder and slow-cooked beef is served with roasted garlic potatoes, courgette peperonata, romesco and aromatic jus. For vegetarian and vegan guests, there is roasted cauliflower with a lemon-herb dressing served alongside a tomato stuffed with lentil ragout. A sumptuous Greek lemon cake served with confit orange skin and citrus yoghurt is the perfect end to this delicious meal. Vegan guests are served traditional loukoumades, delicious dough balls accompanied by a sweet fig jam.

Guests can get the ultimate MAMMA MIA! THE PARTY experience with one of the available packages. The Platinum Package provides a Tier A ticket in a prime location, a cast meet and greet with a tableside photo opportunity, champagne on arrival, half a bottle of wine and a MAMMA MIA! THE PARTY merchandise party pack. Guests can also upgrade their existing booking by adding the VIP upgrade package, taking their experience to the next level with champagne on arrival, half a bottle of Nikos house wine and a MAMMA MIA! THE PARTY merchandise party pack. 

MAMMA MIA! THE PARTY has music and lyrics by Benny Andersson and Björn Ulvaeus (some songs with Stig Anderson), and a story by Calle Norlén, Roine Söderlundh and Björn Ulvaeus, with the English book by writer, comedian and broadcaster Sandi Toksvig.

The London version of MAMMA MIA! THE PARTY, which originally opened in Stockholm in January 2016, is co-directed and choreographed by Stacey Haynes and Roine Söderlundh, with set designed by Bengt Fröderberg, lighting designed by Patrick Woodroffe, sound designed by Gareth Owen, costumes designed by Annsofi Nyberg, music supervision by Robin Svensson and casting by David Grindrod CDG for Grindrod Burton Casting.

MAMMA MIA! THE PARTY is executively produced by Björn Ulvaeus and produced by Sally Davies for U-Live.

CORY ENGLISH

TO TAKE OVER ROLE OF

‘DOCTOR EMMETT BROWN’ IN

BACK TO THE FUTURE THE MUSICAL

NOW BOOKING UNTIL OCTOBER 2023

Lead producer Colin Ingram, together with Robert Zemeckis and Bob Gale, the creators of the Back To The Future film trilogy, are delighted to announce that celebrated theatre actor, Cory English, will join the cast of BACK TO THE FUTURE The Musical at the Adelphi Theatre, playing the role of ‘Doctor Emmett Brown’. The show will also extend its booking period until Sunday 22 October 2023. Tickets for the new booking period are on sale now.

The critically acclaimed Olivier, WhatsOnStage and Broadway World Award-winning Best New Musical had its opening night in London on Monday 13 September 2021 and recently broke box office records at the Adelphi Theatre for the highest gross sales in one week. BACK TO THE FUTURE The Musical is nominated for three WhatsOnStage Awards in 2023 including Best West End Musical, Best Takeover Performance for Ben Joyce and Best Professional Debut Performance for Oliver Nicholas.

Alongside the extension of the booking period, the Adelphi Theatre’s co-owners, LW Theatres, have also partnered with Gala Pro – a revolutionary app for accessibility and translation to enhance accessible experiences at live performances. Available now, the technology works by delivering individual closed captioning and audio description to the user’s own mobile device. This exciting new partnership accompanies other additions, such as dedicated relaxed, signed, audio described and captioned performances later in the year.

Cory English recently played the role of ‘Doctor Emmett Brown’ in the show from 23 November 2022 to 3 January 2023 and is now taking over the role permanently as Roger Bart heads to the Broadway production, finishing his run on 20 March 2023. Cory played Max Bialystock in the West End and UK Touring productions of The Producers, directed by Susan Stroman. His other credits include Sleepless at Troubadour Theatre Wembley Park, She Loves Me at the Menier Chocolate Factory, Igor in Young Frankenstein on Broadway and in the West End and Benny Southstreet in Michael Grandage’s West End production of Guys & Dolls.

BACK TO THE FUTURE The Musical currently stars Tony Award-winning Roger Bart and Ben Joyce as ‘Doctor Emmett Brown’ and ‘Marty McFly’ respectively, with Amber Davies as ‘Lorraine Baines’, Oliver Nicholas as ‘George McFly’, Jordan Benjamin as ‘Goldie Wilson’, Harry Jobson as ‘Biff Tannen’, Sophie Naglik as ‘Jennifer Parker’, Gary Trainor as ‘Strickland’, Will Haswell as alternate ‘Marty McFly’ and ‘Dave McFly’ and Emma Lloyd as ‘Linda McFly’. Also in the cast are Amy Barker, Simeon Beckett, Sia Dauda, Tyler Davis, Glen Facey, Dylan Gordon-Jones, Adam Margilewski, Cameron McAllister, Alessia McDermott, Bryan Mottram, Laura Mullowney, Anna Murray, Jon Reynolds, Melissa Rose, Georgia Tapp, Justin Thomas, Charley Warburton, Tavio Wright and Rhodri Watkins.

The Original Cast Recording, released on Sony Music’s Masterworks Broadway label, is now available on all formats, including vinyl, and has had over 3 million streams. It features the new music by multi-Grammy Award-winners Alan Silvestri and Glen Ballard alongside classic songs from the movie including The Power of Love and Johnny B. Goode. 

BACK TO THE FUTURE The Musical won the Olivier Award for Best New Musical, four WhatsOnStage Awards, including Best New Musical, and the Broadway World Award for Best New Musical. The productions in London and Manchester have so far been seen by half a million people and the musical has broken box office records at the Adelphi Theatre.

Based on the Universal Pictures/Amblin Entertainment film, BACK TO THE FUTURE The Musical has a book by Bob Gale and new music and lyrics by Emmy and Grammy Award-winning Alan Silvestri and six-time Grammy Award-winning Glen Ballard, with additional songs from the film including The Power of Love and Johnny B. Goode.

Marty McFly is a rock ‘n’ roll teenager who is accidentally transported back to 1955 in a time-travelling DeLorean invented by his friend, Doctor Emmett Brown. But before he can return to 1985, Marty must make sure his high school-aged parents fall in love in order to save his own existence.

BACK TO THE FUTURE The Musical is directed by Tony Award-winning director John Rando (Urinetown, On The Town), alongside the multi Tony and Olivier Award-winning design team of Tim Hatley (set and costume design), Tim Lutkin (lighting), Hugh Vanstone (lighting consultant), Gareth Owen (sound) and Finn Ross (video), with choreography by Chris Bailey, musical supervision and arrangements by Nick Finlow and Illusions by Chris Fisher. Orchestrations are by Ethan Popp and Bryan Crook, with dance arrangements by David Chase. Casting is by David Grindrod Associates.

Back to the Future the movie was released in 1985, starring Michael J. Fox as Marty McFly and Christopher Lloyd as Doctor Emmett Brown. The film grossed $360.6 million (£279 million) at the box office worldwide and the total box office for all three films in the Back to the Future franchise was $936.6 million (over $1.8 billion in today’s money).

BACK TO THE FUTURE The Musical is produced by Colin Ingram, Donovan Mannato, Frankel/Viertel/Baruch/Routh Group, Hunter Arnold, Gavin Kalin Productions, Playing Field, Crush Music, CJ ENM, Teresa Tsai, Ivy Herman/Hallee Adelman, Robert L. Hutt, Universal Theatrical Group, Ricardo Marques, Augury, Robert Zemeckis, Bob Gale, in association with Kimberly Magarro, Stage Entertainment, Glass Half Full Productions/ Neil Gooding Productions.

Website: BackToTheFutureMusical.com  

Twitter: @BTTFmusical

Instagram: @BTTFmusical

TikTok: @BTTFmusical

LISTINGS INFORMATION

BACK TO THE FUTURE The Musical

Adelphi Theatre

Strand

Covent Garden

London WC2R 0NS

Performances:

Mondays, Wednesdays – Saturdays at 7.30pm, Thursday & Saturday matinees at 2.30pm, Sundays at 3pm

(Please note, there will be additional matinees at 2.30pm on Tuesday 14 February, Monday 10 April, Monday 29 May, Monday 28 August and Friday 20 October 2023. There will be no shows on Monday 13 February or Monday 20 February. The show on Monday 1 May will be at 2:30pm). There will also be a relaxed performance on 12 March, a signed performance on 2 April, an audio described performance on 23 April and a captioned performance on 14 May.

Tickets: from £19.55

Please book via the website: BackToTheFutureMusical.com – no booking fees  

Booking line: 0203 925 2998

Partnerships announced for Olivier Awards 2023 with Mastercard

officiallondontheatre.com/olivier-awards

The full list of partners has been announced ahead of the Olivier Awards 2023 with Mastercard, which take place on Sunday 2 April at London’s Royal Albert Hall. Public tickets for the star-studded ceremony, widely considered the biggest night in British theatre, are now available exclusively to Mastercard cardholders via priceless.com.

Mastercard returns as headline sponsor this year, having held this position for over a decade. The Olivier Awards is hugely grateful for Mastercard’s invaluable support, without which the Awards could not take place, and for the company’s wider year-round championship of theatre and the arts. 

Agnes Woolrich, Vice President Marketing & Communications, UK and Ireland, Mastercard said:

‘We are delighted to partner once again with the Olivier Awards to celebrate the best talent and performances British theatre has to offer. Our partnership continues to bring fans closer to their passion for theatre and special moments such as these.’

Cunard returns to sponsor the Best Revival category for a 4th year, as well as the nominees’ celebration, which is hosted at The Londoner by hotel partner Edwardian Hotels, who have also supported the Awards for several years. Long-time car partner Audi will provide its top-of-the-range fleet of cars to chauffeur VIP guests to the ceremony and afterparty. Refreshments will be courtesy of returning Champagne partner Taittinger and luxury biscuit maker Biscuiteers.

For the first time, the Lynne & Land Foundation has come on board as an Olivier Awards partner. Established by legendary choreographer Gillian Lynne (who died in 2018) and her husband Peter Land, the foundation will be sponsoring the choreographers’ award, which has been renamed the Gillian Lynne Award for Best Theatre Choreographer.

The Noël Coward Foundation will again sponsor the Best Entertainment or Comedy Play category, which is named in honour of the great British playwright.

ITV returns as broadcast partner for the Awards, and will be showing a highlights programme on the evening of the ceremony. YouTube also returns as a partner and viewers from outside the UK will be able to watch the ceremony in full on the Official London Theatre YouTube channel.

Additional partners include Global, Heart of London Business Alliance, Newman Displays, See Tickets and TikTok.

The production partners for the ceremony are Blue I Theatre Technology, d&b audiotechnik, TAIT, Unusual Rigging and White Light.

OlivierAwards.com | Facebook | Twitter | Instagram 

#OlivierAwards

Theatre Royal Brighton – until Saturday 28 January 2023

Reviewed by Sue Bradley

4****

The Shawshank Redemption is an adaptation of the film, itself based on a short novel by Stephen King, and tells the story of Andy Dufresne; a wrongly convicted man serving two life sentences for crimes he did not commit, in the notoriously harsh Shawshank Prison.

That’s the top-line. But the real story unfolds as fellow lifer Ellis ‘Red’ Redding takes the role of narrator and helps us to understand the effect that the gentle, clever and essentially honest Andy has on his fellow inmates as well as the prison itself.

Joe Absolom (Eastenders, Doc Martin and many other TV roles) brings a sort of wide-eyed desperation to the part of Andy, staying true to his core beliefs whilst dealing with the unrelenting harshness of the penitentiary. But it is Ben Onwukwe (Eastenders, Coronation Street, Holby City) as Red who really holds our attention. Perhaps channelling some of the gravitas that Morgan Freeman brought to the role in the original film version of the story, Ben has a charismatic deep and resonant voice that perfectly suits the role and made it an absolute pleasure to listen to, despite the lack of hope portrayed in the prison setting.

As part of this excellent cast, notable roles are played by Mark Heenehan as the unscrupulous Warden Stammas, Joe Reisig as the vicious prison guard Hadley and Leigh Jones as Rooster, the hair-trigger con with a maddening laugh.

Set and lighting design by Gary McCann and Chris Davey is simple and effective – we are never left in any doubt that this is a cheerless place to serve out your time.I have seen the film several times over the years and occasionally wondered about the title. If Andy is an innocent man, then why does he need redemption? It came home to me last night that this is as much Red’s story as it is Andy’s, and it is Red’s transformation through his long friendship with Andy that gives the story its name. This is a very fine production and, on a bitterly cold January night, we were, in a way, glad to be ‘inside the Shank’ with Andy, Red and their fellow inmates

New Victoria Theatre, Woking – until 28^th January 2023

Reviewed by Heather Chalkley

5*****

Joel Horwood’s adaptation of this epic adventure is an all encompassing roller coaster of emotion. Combine that with the genius direction of Katy Rudd and you have a production worthy of more than 5 stars! In Gaiman’s words “There’s magic waiting for you. And Old Mrs Hempstock”.

You are drawn in by the dense forest setting as soon as you walk into the theatre. The constant darkness of the stage focuses your mind on the cleverly lit detail of each scene, waiting for the unexpected and still jumping out of your skin! Within the first few minutes there is a suicide that sets off a series of events to take you on the journey of The Boy (Keir Ogilvy) and his new friend Lettie (Millie Hikasa). You are drawn into his young life by Ogilvy (Boy), to experience the angst of losing his mother, the wide expanse of his imagination and the trepidation of what he has to face to survive. The quirky, funny nature of Lettie (Hikasa) pulls you in to her magical world at the Hempstock Farm, unchanged since Doomsday. Charlie Brooks (Ursula) with her bubbly, sunshine smile is excellent in her duplicitous nature, revealing herself as a Skarthatch, a dark magical being from across ‘the edge’. Her desperation to stay in this world and stop The Boy, is played out in scenes that trick your mind and raises the hair on the back of your neck. The jewel in the crown is the duck pond at the farm, The Ocean at the End of the Lane. Clever use of flowing silks and beautiful puppetry takes you beneath the waves to where Lettie really belongs. My favourite character has to be Old Mrs Hempstock (Finty Williams), the grandmother we all wish for, with her earthy wise words and the art of using the old ways. You believe in Williams as the character straight away.

The magic is completed by the ensemble who move the characters around the stage during battle scenes and bring in puppetry both small and large. The Hunger Birds and Flea are truly horrifying, bringing a physicality to the performance that is awesome!

A performance for all ages, it’s impossible not to shed a tear, jump out of your seat or exclaim out loud – so good I want to see it all again!

Royal Theatre, Windsor – until 4 February 2023

Reviewed by Joanna Huggett

5*****

It was a pleasure to go and watch opening night of ‘Home I’m Darling’ written by Laura Wade, an intriguing comedy about a couple’s choice to play out the wife’s fantasy as the 1950s housewife while surrounded by the 21st century world outside.

The play is set in their Welwyn Garden City house, complete with retro décor of formica worktops and kitchen table, bold wallpapers, a ‘tube’ tv with spindly legs and, as if to bring the furnishings up to date, a cocktail bar.

Judy, played by Jessica Ransom, dutifully prepares breakfast for her bread-winner husband Johnny, Neil McDermott, before he leaves for work. A brief encounter which only serves to demonstrate Judy’s subservient role, cooking, cleaning, serving, and yet the two of them exclaiming how ‘awfully sickeningly happy’ they are.

However, piece by piece, the fantasy 1950s lifestyle begins to unravel. Fran, played by Cassie Bradley, reveals seeing Johnny and another women dining on a 20th century pizza. Marcus, Fran’s husband played by Matthew Douglas, finds his over-tactile manner gets him into trouble at work, crying ‘you can’t do anything these days’, and Johnny’s career path as the sole income provider comes off the rails when he gets a new boss, Alex played by Shanez Pattni, a women of all things. The world outside is certainly not conforming to the 1950’s fantasy, nor was the 1950’s as romantic as they imagined, so eloquently put by Judy’s mum Sylvia, played by Diane Keen, with the notion ‘Nostalgia ain’t what it used to be’.

A disturbingly accurate set, a wonderful cast, some good laughs and occasionally a thought-provoking stereotype that you will be discussing well into the following day. An altogether enjoyable evening in Windsor – highly recommended.

Jack Studio Theatre – until 28 January 2023

Reviewed by Claire Roderick

4****

Mark Stratford’s engrossing solo adaptation of Robert Louis Stevenson’s novella is impressively faithful to the original, dispensing with any romantic subplots introduced in other stage productions and keeping the focus on Stevenson’s fascination with the duality of human nature.

Framed as a presentation on the case by unflappable Inspector Newcomen of Scotland Yard following the death of Mr Hyde, Newcomen sets the scene by describing the layout of Dr Jekyll’s house, assuring us that it is important, before handing over to Gabriel Utterson, a lawyer and good friend of Dr Jekyll. His concerns over the strangeness of the will Jekyll prepared were compounded when he heard of a violent incident involving Mr Hyde which was smoothed over by Jekyll. Convinced that his friend is being blackmailed, Utterson tries to find out more about Hyde, but Jekyll insists that their relationship is not as Utterson fears. Hyde later commits a brutal murder and disappears, while Jekyll becomes increasingly distant and goes missing himself. When Utterson and Jekyll’s desperate staff break down his laboratory door and find Hyde dead, a written confession from Jekyll is left behind, which Newcomen reads to his audience.

Stratford’s portrayal of each character is composed and intelligent, using props, accent changes and very subtle physical differences , making the transformation into Hyde seem more extreme and shocking as he crouches and sneers like a vicious goblin. The play first relates events from the point of view of concerned friends who don’t understand the changes in their friend. Stratford keeps Utterson and these characters sensible, calm and perplexed as a whole, but builds to near hysteria as Utterson and his friend relate Hyde’s diabolical behaviour. Jekyll and Hyde are almost minor characters in the first part of the play, but as Newcomen starts Jekyll’s confession, Stratford swiftly switches to Jekyll to tell his own story. This is where the energy and tone shift and the transformations between Jekyll and Hyde become graphic and unsettling. The events related by Newcomen and Utterson are now explained by Jekyll, horrified at his baser self, and also by his evil side revelling in what he has done. Stratford transforms in a breath between the two men, always catching the audience of guard and elicits nervous laughter as he threatens the audience. His Hyde is truly odious and the feelings of revulsion voiced by the characters no longer seem hyperbole under Stratford’s glare.

This is a wonderfully accessible and faithful version of the story – the students sitting next to me were thrilled “I was not expecting that!” – performed with skill and precision. Stratford delivers an acting masterclass.