In Robert Louis Stevenson’s novel, “The Strange Case of Dr. Jekyll and Mr. Hyde,” things get quickly out of control when the lead character starts experimenting on himself. The same thing happens in Kaleidoscope Theatre Productions’ current attempt at “Dr. Jekyll and Mr. Hyde,” by Jeffrey Hatcher, adapted from the novel.

Theater Review

“Dr. Jekyll and Mr. Hyde”

One and a half star (out of four)

Drama presented by Kaleidoscope Theatre Productions through Feb. 13 at the Drama Lecture Hall Theatre, Medaille College, 18 Agassiz Circle, Buffalo. For information: 479-1587, www.kaleidoscopetheatreproductions.com.

The piece is a challenging one even for a seasoned company with a very strong talent pool. This production does not succeed in reaching the potential of the script.

Hatcher has envisioned the classic story with a couple of twists. Instead of imagining Dr. Jekyll as purely good, and his scientifically conjured-up alter ego, Mr. Hyde, as purely evil, the lines are blurred, exploring contradictions that reside within each of us. Kaleidoscope pushes the envelope even further, casting an African-American actor, Hugh Davis, as Jekyll.

Because of this unconventional casting — the multiple actors playing Jekyll’s alter ego, Hyde are all white — it’s impossible not to read some comment about race into the production. The company seems to be pushing Hatcher’s notion that everything is not always as black and white as it may seem. Hatcher shatters convention even further, specifying that one of the Hydes be played by a woman.

Patrick Cameron, Daniel J. Greer, Joseph Spencer and Jeanne Vuich play the unleashed Hyde. Id, ego, superego; mesomorph, endomorph, ectomorph; feminine, masculine, lover, fighter, monster: they’re all here. With a different cast and director, it could be an effective gambit.

One of the main issues for the company is finding actors who can convincingly and consistently do accents. Here, six cast members playing more than a dozen characters are asked not only to do one accent each, but in some cases four or five. The result is neither convincing nor consistent.

Keith A. Wharton designed the set, answering the script’s call for lots and lots of doors — three blood-red pairs, to be precise. The play’s many comings and goings are portrayed in a swirl of constant banging, and the way they are executed is more than a bit distracting.

The set is built bare. Each piece of furniture—some large, barely fitting through the doors, and apparently heavy — and prop had to be carried on and off during the play, which runs about two hours. On opening night, there were quite a few prop and line gaffes.

Director Beth A. Gerardi-Wharton is necessarily preoccupied with simply getting actors on and off stage. It is not always clear what effect she is going for with the overall production. Strategies include frequent earsplitting screams, and a vicious beating characterized by the actors stomping their feet.

The piece is described as a “suspense thriller,” “a tale of de pravity, lust, love and horror” with tongue-in-cheek opportunities. But, despite achieving one or two nice moments with the script’s light camp touch-points, the production comes off as conflicted as its main character.

On the whole, the production suffers from the unhealthy mash-up of high drama and underwhelming acting.