THIS challenging adaptation by David Edgar of Robert Louis Stevenson’s Gothic tale of dual personality is much enhanced by the atmospheric lighting and set design; the audience is plunged into darkness at the end of each scene, and change of location is by lighting rather than scenery.

The first half introduces Henry Jekyll, his staff, family and friends, and sketches Jekyll’s relationship with his late father. Extra characters have been added to achieve this and the result is slow-moving until Jekyll’s alter ego Mr Hyde appears, complete with villainous hunched stance and almost unintelligible Glasgow accent.

There’s some suspense generated by the ominous red door leading to Jekyll’s laboratory as the young female servant dithers on the threshold; ‘don’t go in!’ you’re thinking, but the door is ripped open and in she goes, to meet her fate at the hands of evil Mr Hyde.

There have been so many versions of the Jekyll and Hyde story that it’s difficult to detach from Morecambe and Wise, for example, as the good doctor undergoes his transformation. The play becomes darker as Hyde’s personality begins to come to the fore and Jekyll realises that it’s beyond his control, but it doesn’t give us an opportunity to feel sympathy as Jekyll loses his fight for sanity.

Phil Daniels in the dual leading role gives a rip-roaring performance as Hyde but his straight-laced Jekyll is passionless and doesn’t sufficiently engage the audience. Sam Cox as Jekyll’s long-suffering butler provides restrained humour which is badly needed.

Sue Heath