DR JEKYLL and MR HYDE by Nick Lane Directed by Anita Shaw Blackburn Drama Club I had the pleasure of attending ‘The Strange Case of Dr Jekyll and Mr Hyde’, performed by Blackburn Drama Club at the Blackburn Empire Theatre. From the moment I arrived, I was greeted warmly by the front-of-house staff, whose friendly demeanour set the tone for the evening. The welcoming ambience in the intimate theatre, along with the attentive staff, readied us for a night of psychological intrigue and horror. The play, adapted by Nick Lane from Robert Louis Stevenson’s iconic novella, brought the dark, psychological depths of the story to life. While the book focuses on the mysterious and sinister transformation of Dr Jekyll, this adaptation added layers of contemporary relevance, exploring themes of addiction, moral conflict, and societal repression. Lane’s script emphasised how these gothic themes remain pertinent in today’s world, where the boundaries between good and evil are often blurred. As someone who is drawn to gothic horror and stories that delve into the darker side of human nature, I found this production to be both captivating and unsettling. It blended horror with psychological complexity. The eerie and foreboding tone of the piece gripped the audience from the first scene, which was as unsettling as it was thought-provoking. The set, designed by Martin Cottam, Geoff Moss, and various club members, was minimal yet highly effective, transporting the audience to Victorian London with just a few carefully chosen pieces and the surrounding black curtain that enveloped the stage. Jekyll’s study/laboratory, the primary setting, cleverly represented both his ambition and his descent into chaos. It was furnished with period-appropriate items such as ornate furniture, glowing bottles, and scientific instruments, instantly establishing the tone of the scene. The authenticity of the set was enhanced by props like letters, glasses, and other era-specific items, skilfully managed by Clive Stack, Alison Bell, Eric Nolan, Ann Garlick, and Rebecca Unsworth. Their attention to detail helped ground the audience in the era, providing a sense of continuity and immersion. The beautiful, period-appropriate costumes, managed by Jane Stack, Lula Chinery, and Shirley Watson, further contributed to the authenticity, with each outfit perfectly suited to its character. As stage manager, Martin Cottam ensured
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