Chesil Theatre 
Chesil Theatre, Winchester 
Mark Ponsford 
17 November 2024
Such is the style and approach to this telling of Robert Louis Stevenson’s ever popular and shuddersome tale, that it becomes fairly hard to review. This certainly doesn’t imply that I didn’t enjoy it – I did, and hugely – but to go into too much detail would inevitably give away some worthy surprises, and nobody hates a spoiler as much as I do. The production has sold out for its entire week-and-a-bit run, a testament not least to the Chesil’s large and loyal public, and it truly is always a pleasure to pass through that iconic Little Red Door in order to attend yet another production of enviable standard. The initial reveal of the steep, spectacular set is impressive indeed, serving as a number of locations, while the omnipresent Latin inscription Primum Non Nocere (“First do no harm”) presides with no small irony over the action.
Those familiar with the story may well find themselves (as I did) false-footed even within the play’s opening moments – an entirely intentional device, which in itself ensures an open-mindedness to accept the not-always-naturalistic style of the piece. I’d even go so far as to suggest not reading the programme (or at least the cast list) prior to watching the performance – the less one is prepared for here, the more effective the overall and ultimate impact. It’s a bit of a slow-burner to begin, which is no bad thing as we adjust and accustom ourselves to the approach adopted for the piece, and John Wakeman’s fluid direction guides his company seamlessly through the uneasy train of events, along the way taking every advantage of the opportunities presented by that excellent set.
By the end of act one (though I’d have happily cut its mood-breaking final line), we’re in the grip of pacey drama and thrilling acting; and from the start of act two things are hurtling along. Again, it’s difficult to go into too much detail without giving too much away, but suffice to say there’s some seriously thrilling physical acting to be seen, complimenting the excellent character work by this first-rate ensemble. It is very much an ensemble piece, and the overall awareness and focus from this 8 (very) strong company are highly evident throughout. I feel bad for not singling out for individual mention, although I hope they will appreciate my reasoning for this. Suffice to say that this crack team of Chesil regulars – Emily Monsell-Holden, Jen Hale, Emily Baldock, Peter Andrews, Tez Cook, Brad Hall, Andrew Jenks and Danny Olsson – are, collectively and individually, a force to be reckoned with, and deliver marvellously this entertaining and (very) thought-provoking Autumnal treat of a production.
