REVIEW: Jekyll & Hyde The Musical - Swich Up Productions

Jekyll & Hyde – The Musical

Presented By: Swich Up Productions

Venue: Ipswich Civic Centre

There’s such a fine line... between genius and madness, light and darkness, love and destruction. And Swich Up Productions walks it masterfully.

In a thrilling pivot from their previous comedy triumph The Drowsy Chaperone, Swich Up Productions dares to plunge into the chilling depths of gothic horror with Jekyll & Hyde – The Musical. Presented at the Ipswich Civic Centre, this gripping and visually arresting production pulls you into its twisted Victorian world and refuses to let go until its final, gasping breath. And what a breathless ride it is.

Originally scheduled for March 2025, the production faced postponement due to Tropical Cyclone Albert—but it returns to the stage with unshakable strength and stunning theatricality. From the first haunting chord to the final, devastating scene, this is a highly professional production. It's hard to believe it’s only running for one weekend. With a powerhouse cast, a thunderous, tight-knit orchestra, and clever design elements, Jekyll & Hyde marks a bold new direction for this emerging company—and it absolutely pays off.

Based on Robert Louis Stevenson’s classic novella, the musical follows the idealistic Dr. Henry Jekyll as he experiments with a formula designed to separate good and evil within the human soul. But when he unleashes his violent alter ego, Edward Hyde, the consequences ripple outward—endangering not only himself, but also those closest to him, including his devoted fiancée Emma, his loyal friend John, and the vulnerable yet strong-willed Lucy.

The Monster Within

At the centre of it all, Matt Leigh delivers a jaw-dropping performance as Dr. Henry Jekyll and his sinister alter ego, Edward Hyde. He has this magnetic control over the audience. As Jekyll, he balances polished power with raw vulnerability, making every word resonate. From the opening ballads, "Lost in the Darkness" and "I Need to Know", Matt Leigh's vocal tone is pure silk to the ears—crystal-clear, tender, and laced with emotion as Jekyll begins his descent into obsession.

But it’s in the showstopping numbers that Matt completely blows the roof off the Civic Centre. By the time we hit "This is the Moment", Matt has the audience in the palm of his hand. That moment—already one of the greatest musical theatre anthems in my opinion—was everything I hoped for and more. With the orchestra soaring behind him and those incredible key changes, it was a pure rush of energy. I thought I might levitate right out of my seat.

And then… comes Hyde.

With just the tilt of his head and the curl of a cruel smirk, Matt morphs into Hyde with bone-chilling intensity. In "Transformation", his physicality shifts completely—more animal than man—and his voice plunges to a guttural growl. It’s so distinct, so sudden, it’s hard to believe it’s the same actor. In "Alive", as he explores the underground and dangerous world of London, there’s this moment—head bowed, eyes glowing white in the stage light—where he looks out at the audience (a rarity for Hyde) and sends a wave of unease rippling through the room. It’s spine-tingling. His Hyde is magnetic and monstrous, filled with manic glee and unpredictable menace. This is masterful work, elevating the entire production and anchoring the gothic chaos with terrifying brilliance.

In the Act One finale, I honestly thought Matt was about to set Anthony O'Donnell ablaze. The violence is immediate and intense. And the way he wields Hyde's cane—it’s not just an accessory, it’s an extension of his madness. While I know it’s controlled for the safety of the actors, it still feels dangerously real. In "Confrontation", Matt switches between Jekyll and Hyde with blistering speed and unnerving clarity. And the lighting crew were fighting for their lives out there! Meanwhile, the ensemble’s eerie choral harmonies and hissing sound effects lingered underneath. Matt stands alone in a one-man battleground, physically and vocally pushing himself to the limit. It’s epic, unsettling, and utterly gripping from start to finish.

The Women of Jekyll & Hyde

Playing opposite Matt Leigh’s towering performance are Nykita O'Keeffe as Lucy and Samantha Sherrin as Emma, and both deliver standout performances in their own right.

Nykita O'Keeffe’s portrayal of Lucy emerges as an unforgettable force on stage. She steps out in that figure-cutting corset and belts "Bring on the Men" like it’s nobody’s business, oozing fierce confidence and sass with a wink and a hip-pop. From the get-go, she owns the stage with this sultry, fiery presence—but it’s what she does beyond that bold entrance that makes her performance so remarkable, creating a Lucy that is multifaceted and heartbreakingly human.

"Someone Like You" (no, not the Adele song—although she'd give her a run for her money) is a masterclass in storytelling through song. Every lyric lands like a confession. Her voice is soaked in longing, and then she lets rip with this jaw-dropping belt that could probably be heard from outer space. In "A New Life", O'Keeffe plunges us into profound emotional depths that are nearly unbearable to witness due to their futile optimism. In "Dangerous Game," Lucy's seductive, yet ultimately tragic, allure is depicted in a perilous dance with the devil. Nykita just keeps getting better and better. I dare say—her voice is flawless, her delivery impeccable, and her emotional depth unmatched. She doesn’t merely sing her songs; she inhabits them. And we feel every moment of it.

Samantha Sherrin is equally glorious in the role of Emma Carew, Jekyll’s devoted and sophisticated fiancée. Radiant, poised, and quietly powerful. But don’t be fooled by the gentle soprano—this Emma has strength, and Sherrin does not let her fall into the trap of being a passive love interest. Her duet with Matt Leigh, "Take Me As I Am", is a blend of soaring vocals and emotional truth. Their chemistry is beautiful, and their silhouetted shadows against the backdrop during this number? Unintentional and stunning. Sherrin’s voice is crystal clear and effortlessly floats above all else, but she’s also got a belt that sneaks up on you when the music calls for it.

A particular highlight is her duet with Nykita O’Keeffe, "In His Eyes". With the two women unaware of each other, positioned on opposite sides of the stage, they sing with such vulnerability and longing that the whole audience seems to lean in. Their voices weave together in this angelic harmony that’s just breathtaking. (Though I will say—and this isn’t on them—a full set change happening dead centre during the climax of the song kind of pulled me out of the moment... more on that later.)

What I loved most about Sherrin’s Emma is that she never fades into the background. Even in the quieter moments, her presence is felt. She embodies the emotional heart of Jekyll’s world and brings such care and dignity to the role that by the time we reach her final scenes, you’re fully invested in her fate.

Standout Supporting Performances

The supporting cast in this production is stacked with talent, each performer bringing great texture and nuance to their roles. And a special shout-out here: the accents throughout the show are wonderfully strong (a pet peeve of mine when they’re not consistent). I love that they aren’t just generically British but are divided by class too. Jekyll is extremely proper, while Lucy leans into a grittier Cockney.

Cameron Rollo is magnetic as both the uptight Simon Stride and the sleazy, predatory Spider. His transformation between the two is wild; my guest didn’t even realise it was one actor. As Spider, he oozes this captivating menace, lurking around as the pimp of the The Red Rat. His vocal delivery drips with unsettling charm, and once you clock the Scar-from-The Lion King voice… you cannot un-hear it. And honestly? It works perfectly.

Leo Mylanos brings a grounded sincerity to John Utterson, Jekyll’s loyal friend and confidant. His presence is steady amidst the chaos, and he plays the role with restraint and quiet strength, offering a much-needed moral anchor for the audience. That said, there’s room to deepen the emotional arc—particularly in the later scenes. In moments like the lab confrontation, it’s crucial for us to sense Utterson's rising fear, worry, and desperation for his friend. Let us glimpse the cracks in that calm exterior. When the final tragedy unfolds, it is Utterson who must embody the consequences of Jeykll's actions and the weight of the devastation.

Adrian Carr, doing double duty as Sir Danvers and set designer (and President of SUP, of course), offers a dignified Victorian presence. Simone Behrendorff as Lady Beaconsfield adds flair to every scene she appears in. The Red Rat ladies are another standout, particularly in "Dangerous Game". Their stylised, involuntary movements create a deeply unsettling atmosphere—like they’re under some dark puppetry spell. The ensemble as a whole is a force. Vocally strong, choreographically sharp, and fully committed, they elevate every number they’re in. Aidan Cobb deserves a special shout-out for those soaringly clean tenor lines in the opening "Facade"—seriously impressive! Jennifer B. Ashley’s choreography makes excellent use of the ensemble and those lush Victorian costumes, especially in "Facade" and "Murder, Murder", which are both visually striking.

Atmosphere and Design

This production doesn’t just set a scene—it drenches you in it. From the moment the lights plunge us into red, we’re transported straight into the grime of Victorian London, and it’s a feast for the senses. Adrian Carr’s set design is moody with dreary grey buildings, wrought-iron details, and chimney smoke that give the whole show a foggy, shadow-drenched aesthetic.

Jason Bovaird’s lighting is a total knockout—cinematic and bold. Green floods signal Hyde’s monstrous arrival, stark spotlights isolate characters in their most vulnerable moments, and deep reds wash over scenes of chaos and violence. Jack Alfred Kelly’s use of projections in black and white keeps the focus sharp and helps to cleanly transition scenes without being overbearing. The visuals never overtake the story—they simply enhance it, slipping in and out like Hyde hiding in the fog.

Costume design by Glenn Baylis is divine. From the lavish conservative ballgowns and finery to the sultry Red Rat attire, every piece feels period-accurate but stage-savvy. The textures and colours pop under the lighting, and accessories—like Spider’s fur coat and specs, or Jekyll’s transformation top hat and coat—add so much to the storytelling.

Sound and Music

Under Julie Whiting’s baton, this orchestra is electrifying. From the first ominous notes to the heart-pounding ending, the musicians conjure a soundscape that’s cinematic and utterly immersive. It’s Les Mis meets Phantom with a splash of Sweeney Todd—and it works so well. Julie's musical direction ensures that the score doesn’t just accompany—it drives the show, building tension and release in all the right places. This is a production where the music is a character in its own right: expressive, relentless, and unforgettable.

Vocally, this show is a monster (almost entirely sung-through), and Swich Up Productions rises to the challenge. The choral work is spine-tingling, with moments in “Alive,” “His Work and Nothing More,” and “Confrontation” that are so insanely rich. The ensemble is never just “there”—they’re narrators, shadows, and reflections of the themes unfolding in front of us.

Choreography and Direction

Under the direction of Timothy Wynn, Jekyll & Hyde finds its heart—not just in the spectacle, but in the stillness, the silences, and the simmering tension. Wynn clearly understands the gothic melodrama at the show’s core, but rather than leaning into caricature, he steers the production with emotional pacing that is deliberate and considered, allowing moments of reflection to breathe between the chaos and horror. There’s an excellent balance of scale and subtlety here—a sense that every choice, from blocking to lighting to a simple touch between characters, serves the story’s psychological depth. There’s constant interplay between order and disorder—between the pristine world of science and society and the decaying corners where Hyde lurks. The recurring use of the scrim, silhouettes, shadows, and cross-stage divides (especially in “In His Eyes” and “His Work and Nothing More”) adds layers of visual poetry as multiple threads play out in tandem.

Jennifer B. Ashley’s choreography elevates every group number. Sharp, stylised, and dripping with dramatic intent, her movement choices make full use of the cast and space. From the elegant partnering in the ballroom scene to the twisted, puppet-like movements of the Red Rat girls, each sequence is packed with storytelling. “Façade” sets the tone early with dynamic formations and crisp execution. “Murder, Murder” is practically a mini-musical of its own—intense, swift, and completely riveting. And I was so taken aback by the end pose of "Alive" that I genuinely gasped and clutched my pearls like a true drama queen. Her choreographic choices won't please everyone, but to me they feel Victorian yet modern and polished yet primal. I found the direction and choreography worked in tandem well to serve the dualities at the heart of this story—order vs. chaos, light vs. dark.

Small Suggestions

If I had one note—okay, two—it would be these:

1. Scene Transitions – The cast and crew are impressively efficient with transitions, keeping the show moving well. However, some scene transitions interrupt key song moments, jumping the gun during climactic vocal phrases. Set pieces roll onstage, ensemble members position early, or the scrim comes down, pulling focus during songs like “In His Eyes” or “Someone Like You.” This momentarily breaks the spell. Trust the power of stillness—those final notes ring out. Shifting transitions to occur during our applause instead of mid-song would preserve these epic moments beautifully.

2. Sound Balance – The orchestra is phenomenal, and the vocalists are powerhouse talents—and that’s exactly why the mix matters. At times, the volume from the pit overpowers the vocals or vice versa. Microphones sit just a tad too hot or aren't turned on, and some of the softer emotional beats are swallowed in the darkness (like the end of Façade).

These are small tweaks in an otherwise gorgeously crafted show—the kind of refinements that could lift this already thrilling production to even greater heights.

Final Thoughts

Swich Up Productions has made a bold leap from the glitzy, meta-musical comedic success of The Drowsy Chaperone into the bloodstained, gothic world of Jekyll & Hyde—and what a leap it is. It is a must-see for a dark and thrilling night at the theatre. And let’s not forget the real horror story here—not the split personalities or mad science experiments, but the stark truth that sometimes the scariest monster isn’t a creature of the night, but man himself.

If you can get a ticket, grab it fast. The theatre was packed on the night I attended, and for good reason. Congratulations to the entire cast, crew, orchestra, and team for pulling off a professional, polished, and memorable production—made all the more meaningful for its triumphant comeback after the storm.

Tickets available here