Strange Case of Dr Jekyll and Mr Hyde
14 June 2025 at Compton Village Hall
21 June 2025 at Abingdon Drama Festival
28 June 2025 at Wallingford Drama Festival
London, 1979. A city on edge. A mind divided. A monster unleashed.
Dr. Henry Jekyll, a respected chemist, believes he has found the key to separating the dual nature of mankind—his own darker urges given form in the sinister and unpredictable Edward Hyde. But as Hyde grows bolder, leaving violence and fear in his wake, Jekyll’s closest allies—a determined legal advocate, a steadfast doctor, and his loyal assistant—begin to suspect the horrifying truth.
With the police closing in, Jekyll must face the ultimate question: Is Hyde merely a part of him… or is he the real man after all?
Set against the backdrop of late 1970s London, this bold new adaptation brings Stevenson’s classic tale of identity, morality, and control into a world of urban grit and restless change.
Cast
Jekyll – Pete Watt
Hyde – George Buckand
Utterson – Helen Saxton
Enfield – Hollie Genevieve
Lanyon – Eric Saxton
Inspector – Phil Prior
Poole – Caroline Edwards
Landlady – Christina Moore
Director – Pete Watt
Crew
Stage Manager – Apollo Sheperia
Lights & Sound – Archie Saxton
DSM – Evie Watt
Newbury Weekly News review
A 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
Freelance Arts
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
ODN Review
Accomplished Production
This clever adaptation by Pete Watt of Robert Louis Stevenson’s dark novella The Strange Case of Doctor Jekyll and Mr Hyde was brilliantly directed by the writer. The stylized set was very ingenious, with atmospheric lighting, and very flexible, as it was being used for festival entries.
Although this production was set in the 1970s, it was not immediately obvious why, but somehow it worked with the political situation, the setting, the costumes, and the music. Dr Jekyll (Pete Watt) was played skilfully, demonstrating the calmer side of the two characters. Jekyll’s alter ego, Edward Hyde, was played equally brilliantly by George Buckland. He was evilly convincing, and the portrayal of Jekyll’s sexually repressed, murderous, darker side was interpreted very well. The mirror scenes between Jekyll and Hyde were particularly impressive, representing both sides of Jekyll’s character and drawing on the considerable acting skills of both.
Gabrielle Utterson, a reserved and morally upright lawyer (a friend of Jekyll as well as one of his clients) was played very strongly by Helen Saxton, who gave a spirited and convincing performance throughout.
Erica Enfield (Hollie Genevieve), related to Utterson, was a very good, confident narrator throughout, particularly during the scenes she witnessed near a run-down house in a seedy part of London. A young woman is trampled by Hyde, who subsequently pays a large sum of hush money to the girl’s family. Later, Hyde is seen beating Sir Danvers Carew to death with a cane, which breaks in the attack. The broken cane is subsequently recognised by Utterson as belonging to Jekyll. This violent scene was particularly effective, using a coat to represent the victim.
The landlady (Christine Moore) was stoically reluctant to give access to Jekyll’s flat to Utterson until it was explained to her that she had the police with her. Her performance was strong and believable, demonstrating her loyalty to Jekyll.
Inspector Newcomen of Scotland Yard, played solidly by Philip Prior, though he could have been a little more forceful, is joined by Utterson after the violent murder of Sir Danvers Carew. They explore Hyde’s loft and discover evidence of his depraved life.
Dr Hastie Lanyon (played very effectively in a wheelchair by Eric Saxton), a longtime friend of Jekyll, is the first person to discover Hyde’s true identity. Lanyon gives Utterson a letter from Jekyll, who has also changed his will, making Hyde the sole beneficiary in the event of Jekyll’s death or disappearance.
Polly Poole, ably played by Caroline Edwards, was also close and loyal to Jekyll. Together with Utterson, they forcefully break into his laboratory, only to realise their worst fears.
The transformative potion scenes were well handled, along with the eventual suicide. There was extremely good interplay between Jekyll and Hyde in the final scene.
The play had good flow and a good variety of pace, particularly as the entire cast were on stage all the way through. Although the storyline was hard to grasp at the start, the competent cast soon brought the whole grisly tale to life.
An accomplished production, with a talented cast, which was appreciated by a full house.
Congratulations to all, and good luck for the forthcoming festivals.
NIGEL JAMES