Writer & Director: Tristan Fynn-Aiduenu
The story of Jekyll and Hyde is a classic, reimagined and adapted many times throughout the years, but Tristan Fynn-Aiduenu has managed to create an entirely new take on the storyline, modernising the narrative with a strong, young cast.
It’s 2032 and the Azazel Housing Estate is full of young adults trying to make a name for themselves, assisted by the support of local youth workers to help them to create pathways for better lives. But when a new strain of weed called Seek is produced by the local pharmacy, it affects the residents’ personalities in ways they couldn’t even imagine. Their inner selves are bought to the forefront, with their light and dark sides duelling against each other to take control. Can they fight against this mysterious force within them and eradicate their split personalities or is the estate doomed for destruction?
This unique take on Jekyll and Hyde is artistic, modern and full of suspense. Fynn-Aiduenu does a great job of amalgamating a variety of genres and styles together, building tension with suspenseful scenes then dissipating it with relatable, funny interjections from the well-written characters. The creativity is strong throughout, showcased mainly in the passionate, insightful speeches from each character, powerfully expressing the well-crafted messages, while still strongly tying into the narrative.
The only problem with this show is its running of 2 hours and 35 minutes, not including the two brief intervals. It doesn’t have the script or the budget to warrant such an extended length. The show starts strong, with high energy and a unique fresh take on a classic story, and while it’s great that each actor has their chance to have their moment in the spotlight, the plot begins to drag and lose itself the longer it continues. It’s frustrating because both the acting and the overall narrative are both extremely strong, but it’s in instances such as this, where a director who isn’t the writer is useful in assisting with what scenes could and should be shortened, cut or adapted to keep the momentum going and the pace enjoyable. Many scenes are almost mirror images of each other, just with different characters at the helm, repeating mostly the same scenario that the last few characters went through. By significantly shortening this performance, the tension would remain high and the scenes wouldn’t become stagnant or overdone.
The cast of 12 from the Guildhall School are all brilliantly talented, breathing life into their characters and entertaining the audience throughout. Prince Owusu (Terra) is destined for the stage, his comedic timing faultless and his energy infectious. He dominates each scene he is in and would be wonderful in more starring roles in the future. Malikah McHerrin-Cobb (Anna/Belle) is the mysterious pharmacist, playing her role with graceful experience. She depicts both Anna and Belle’s mannerisms with perfect distinction, and confidently delivers her lengthy monologue with ease. Obèd Nzuzi Mayamona (Levi) is the driver of the first act, a huge role for a hugely talented individual, impressively succeeding without hesitation. Westerfield Oreoluwa Ibikunle Shoderu (Attila) contributes musically as well as his acting talent, while dance captains Shayde Sinclair (Delilah/Kitoko) and Miriam Petche (Siobhan) lead the entrancing choreography at various points in the performance.
With such a poetically varied script, the well-choreographed scenes and the strong cast, it should easily be a 4/4.5 show, but the focus isn’t quite there yet. With some amendments and cuts to help the show flow better, this will be a fantastic piece, with a strong message and intriguing take on a well-known plot.
Runs until 29 October 2022
The Reviews Hub Score
Strong Show, Needs Shortening
