DR. JEKYLL AND MR. HYDE ADAPTED BY JEFFREY HATCHER FROM THE NOVELLA STRANGE CASE OF DR, JEKYLL AND MR. HYDE BY ROBERT LOUIS STEVENSON atte Company production of Dr. Jekyll and Mr. Hyde, DRAMATISTS PLAY SERVICE ING. A scene from the ArizoiDR. JEKYLL AND MR. HYDE Copyright © 2008, Jeffrey Harchor All Rights Reserved CAUTION: Profesional and amcuts ace herchy warmed that perfomance of DR, TEKYLLAND MR. HYDE issubjectopaymen of eal Ie ily proceed under the copyright vs ofthe Urine Sees of America, an ofl count covered by toe Ineonal Cop Union Gndudng he Dominion of Canad andthe ox othe Bish Commorweah), and ofl counties covered by the PaneAmercan Copyright Convetion, the Univenal Copyright Convention, the Beine Convention, and of al umes wih which the United States has epoca copyright rains, All igh, including without istation profesionaVamateur sage gate motion pcre, ee ‘ion, letring, public reading radio Broadening ees, vidco or sound econ, alloher forms of mechanical clcroic and dig eproution ansmiston an di tration, sich a CD, DVD, the Inerne, pevite a lesharag neo, note ton song nde cn Spin an the of anon sign langage re scl reserved. Parca emphasis laced upon the rater 0 ‘eating pais for which mus Be secured from the Adan’ get fn weg, “The English lnguage sock an smneur tage performance rights inthe United States, ine poatins an Corala BIC ERULL AND MR TOE ae oe tole excustelyby DRAMATISTS PLAY SERVICE, INC, 440 Park enue South, NNew York, NY 10016. No profesional or nonprofesiona performance of te Pay aay be gen rou chaiing in ahance the mien ermtoion of DRAMATISTS PLAY SERVICE, INC, and paying the mute fe Inquiries concerning all other rights should be addressed +0 Paradigm, 360 Park Avenue South, 16th Floor, New York, NY 10010, Aten: Jace Tantlef an reduce DR ERYLL AND yone reving pemision to precuce AND MR, HYDE is equi to give cede othe Adepror as ol and excuse Adapor ofthe Pay onthe page tal programs dave in connetion win prfrmane ofthe sy and all instante which the tl ofthe Diy appers fo purposes of adverasngpublcing rather epotinghe Py andra proton hea. Th name he Adepor aseapper ona spat line in which ho other ame spas immediacy bene the ile and in size of type equal co 50% ofthe size of the lergest, mos prominent Ice, ter wed for hele ofthe Ply No person, frm or eniy my rece eit rer or tote prominent than that accorded he Adaptor The iin must appears follows DR. JEKYLL AND MR. HYDE adapted by Jeffrey Hatcher fiom the novella Srange Cas of Dr Jel and Mr: Hyde by Rober Louis Stevenson The following acknowledgment must appear on the de page in all programs dsb uted in connection with performances ofthe Phys ‘The World Premiere of DR. JPKYII. AND MR_HYDE ‘was commisioned and produced by Arizona Thesere Company, David Ira Goldstein, Artistic Director Jestica L. Andrens, Exceutive Director econ ‘for David Ira GolditeinDR. JEKYLL AND MR. HYDE was commissioned and produced by the Arizona Theatre Company (David Ira Goldstein, Artistic Director; Jessica L. Andrews, Executive Director) receiving its world premiere in Tucson, Arizona, on January 18, 2008. Ie subse- quently opened in Phoenix, Arizona on February 9, 2008. Ie was directed by David Ira Goldstein; the set design was by Kent Dorsey; the costume design was by Anna Oliver; the lighting design was by Dawn Chiang; the original music was by Roberta Carlson; the sound design was by Brian Jerome Peterson; the fight director was Ken Merckx; the dramaturg was Jenny Bazzell; the casting was by Bruce Elsperger; and the stage manager was Bret Torbeck. The cast was as follows: R. Hamilton Wright ... Ken Ruta DR. HENRY JEKYLL ... EDWARD HYDE, GABRIEL UTTERSON ... EDWARD HYDE, SIR DANVERS CARE! RICHARD ENFIELD, O.E SANDERSON, INSPECTOR . cs ww Stephen D’Ambrose EDWARD HYDE, DR. H.K. LANYON, POLICE DOCTOR, SURGICAL STUDENT. Mark Anderson Phillips EDWARD HYDE, POOLE, SURGICAL STUDENT, POLICE DOCTOR. ELIZABETH JELKES ....... ORDERLIES ssoene Cartie Paff sennee Anna Bullard ... Rebecca Angel, Stephen Gaeto This production transferred to San Jose Repertory Theatre (Timothy Neat, Artistic Director; Nick Nichols, Managing Director) in San Jose, California, opening on May 16, 2008, The stage manager was Laxmi Kumaran, Orderlies were played by Alan Kaiser and Danielle Perata. PRODUCTION NOTES DOUBLING: The play is designed co be performed by six actors, four men and two women. One actor plays “Jekyll” and no other role, and one actor plays “Elizabeth” and no other role. But all four of the oxher actors — including the other woman — double, with each playing “Hyde” ac some point. SET: The play is designed for maximum speed and movement, so transition time must be kept to an absolute minimum. Rooms may be suggested by moveable desks, chairs, serving tables, lab tables, hospital gurneys, and the like. In the Arizona Theatre Company production directed by David Ira Goldstein and designed by Kent Dorsey, the set included wood “bleachers” that suggested the kind of seating found in the lecture halls and operating theaters of nineteenth-century England, This was very useful and also quite evocative, ‘What is vital for any production is The Red Door that is moved from place to place during the performance. The Red Door will define space. The Red Door will tell us whether we're inside or our- side a rcom or building. The Red Door must be practical; and on two occasions during the show, at the start and at the climax, it must be “smashed down.” I trust in the creativity of che design team to solve this, but more than one Red Door may be helpful. COSTUMES: There are no changes during the show, so the clothes should be general in look, although they must conform to our notions of late Victorian style and silhouette, A new character ccan be suggested by a prop or some other indicator, In the premiere production, four of the men and one of the women wore identical charcoal gray suits, to which were added hats, scarves, capes, etc. ‘The other woman wore a gray dress of similar material and gray color. This worked quite well, especially as it established from the start that our template was a uniformity that could warp into end- Jess variations. ‘The silver-headed cane is reserved for actors who play “Hyde.” ‘There should be no other canes onstage. 5— CHARACTERS “J DR. HENRY JEKYLL Ee MR. EDWARD HYDE rH GABRIEL UTTERSON ELIZABETH JELKES DR. H.K. LANYON SIR DANVERS CAREW POOLE, THE BUTLER SANDERSON, THE PRIVATE DETECTIVE ‘THE INSPECTOR ‘MR. RICHARD ENFIELD. ‘THE PROSTITUTE POLICEMAN POLICE PHYSICIAN SURGICAL STUDENT I SURGICAL STUDENT 2 MAID OLD WOMAN LITTLE GIRL DRUNKARD HOTEL CLERK MORGUE ORDERLY PLACE Drawing rooms, offices, a laboratory, a private surgery, a morgue, a dissecting theater, a bed-sitting room, a park, a hotel room, various streets and alleys TIME London, 1883. DR. JEKYLL AND MR. HYDE PROLOGUE Five actors — two women and three men — stand at the stage apron, in late Victorian clothing, circa 1883. They stand in front of a red door, upstage center. The door scems to ‘float in darkness. The five actor: look out front, footlights beaming up at them. WOMAN 1. This is what I know. MAN 1. T'll cell you what I know. MAN 2. What I'saw, what I heard. MAN 3. The events as I would recall chem. WOMAN 2. I cannot speak for what I have not witnessed. (Blackout. Immediately we hear — a woman’ scream.) AIITEEE! (We hear a very loud London police whistle, at least three blasts. Overlapping the whistle, we hear voices shouting in the dark:) MAN 1, (Offtage.) Jekyll MAN 3. (Offitage.) Break it down! WOMAN 1. (Offitage.) He's in there with him! MAN 1. (Offtage.) Stand back! (Lights on the red door. The red door bursts open, opening downstage. Towards us. The door hangs by a hinge. Five people, backlit, come through and come downstage. They stop in their tracks. Gasps. Now we see a body on the floor, downstage of the door. It might cven be two bodies. All we can sce is a swirl of dark clothing. Man 2 becomes “The Police Inspector.”) INSPECTOR. Is it him? IS IT2 (Pause as shey stare. Then — lights change. Man 1 becomes “Utterson.” Utterson ‘comes downstage and speates to the audience.)UTTERSON. Ter me begin. (Lights change. The red door is wheeled downstage in front of the “body(ies).” The actors go offitage. As Unerson speaks:) ACT ONE Scene 1 A London street. UTTERSON. Diary of Mr. Gabriel Utterson, solicitor. (Enfield enters the scene.) A relation of mine, name of Enfield, we meet for dinner once, twice a year to discuss legal business. On one of these occasions we decided to visita friend after and somehow allowed our conversation to take us from the route. A wrong turn, a nar- row lane,and suddenly we came upon a door. (The red door is re- positioned. This time at a different point onstage.) ENFIELD. This door. Tell you a story? UTTERSON. Please. (Lights change. As Enfield begins to describe the scene, Urterson “disappears” into the darkness.) ENFIELD. Some weeks past, coming home one night from some godforsaken place at the end of the world, I took the same wrong turn we did just now and found myself upon this spot. Saw a girl ves (One of the women — Actor 6 — comes downstage.) ... a child, almost, running down the street, and out of her sight, coming ‘round the corner, a man. (Light change. The actor who will play Jekyll throws bis cane to the actor who plays Utterson. The actor who played Utterson becomes the first of the actors who will play Hyde.) ‘The two came together at the same time and collided. (Hyde and the woman collide. She falls to the floor. Hyde raises up the cane as if zo strike her — and freezes. Other actors move into the scene,) STREET PEOPLE. ‘Ere now. — Stop there! — He knocked her over! — Grab him! (Hyde is apprehended by them.) DRUNKARD. Are you hurt, my darling? OLD WOMAN, Is she hurt? Ifhe’s harmed her, if he’s crushed her little frame — DRUNKARD. Call the constable, we should! OLD WOMAN. What about a doctor?DRUNKARD. Tha’ tight, a doctor should be called. HYDE. There is no need. The git is not harmed. ENFIELD. Here now. Why'd you knock her down? HYDE. Ie was not intentional. I was too much in haste to reach my door, ENFIELD. (Re: the red door) This door is where you live? HYDE. vis. ENFIELD. What is your name, sir? HYDE. Hyde. ENFIELD. Hyde, you owe this girl an apology. HYDE. I apologize. ENFIELD. Nor enou: OLD WOMAN. No, it isn’t! DRUNKARD. Nol ... What would be enough: ENFIELD. I think there are damages here. HYDE. Damages? You mean I'm to pay the girl? ENFIELD. Her family, then. (The Old Woman steps forward.) OLD WOMAN. I'm her mother! (As others look at her.) Wall. Pm her mother's friend. ENFIELD. I think we could pur the mateer at rest for the sake of twenty pounds. (The street people gasp.) HYDE. Come inside. ENFIELD. None of us wished to go inside. It was a bad street and the door, combined with the man’s demeanor, suggested an entrance that might not portend an exit. Still we went in. (Hyde unlocks the door. They all enter. The door is turned around by the actors, They are now “inside,”) HYDE. (Hands Enfield a cheque.) A cheque. Twenty pounds. You'll note the bank is beyond reproach. ENFIELD. How do we know there are funds to cover the amount? The girl's mother can't cash the cheque ‘til Monday. By then you could be on a steamer to who knows where. HYDE. This isa letter, from an associate of mine. (Hands Enfield a letter.) It confirms the funds and pledges to make good any over- draft. Will chat be acceptable to you, Mr. Enfield? ENFIELD. (Shocked, to Hyde.) Yes ... yes ... this will do. HYDE. May I have it back then? The letter? (Enfield hands the let- ter back to Hyde.) ENFIELD. And with that we left. (The door is repositioned in front of Hyde, closing him off from our view. Enfield helps up the woman — 10 Actor #6 — who played the girl. Ho gives ber the d exit. As this takes place, Enfield speaks — )T gave the gil, the gid ran off, the crowd dispersed, the incident. (Lights change. The actor who played Hyde now returns tothe. Urterson.) ‘ UTTERSON. What then keeps it in your mind? ENFIELD. ‘Two points: One, the fact that he called me Enfield, UTTERSON. Well, thae is your name. ENFIELD. Yes, but I didnt tell it to him. UTTERSON. ... And the second point? ENFIELD. The name at the bottom of the lewer. Id someone were going to see tonight. UTTERSON. Who? : ENFIELD. Henry Jekyll. (Light change, The door is repositioned.) Scene 2 De: Henry lel sting room. There is a bunt of male tughter as Dr. Lanyon enters. Dr. Lanyon is the owner of the exuberant laugh - a DR.LANYON. My dear Enfield! ENFIELD. My dear Lanyon! DR. LANYON, Utterson. UTTERSON. Lanyon. We seem to have walked into the midst of noc some little mirth. DR. LANYON. Yes, Jekyll has made a proposition, haven't you, Henry? (Dr. Henry Jelyll turns and enters the scene, ] . JEKYLL. It wasn'e a proposition. It didn't have even the force of argument to be anything close to a proposition, ENFIELD. We're late in coming. Do fill us in DR. LANYON. We were talking about this murder, JEKYLL. Murders. DR. LANYON. Took place in Scotland, which explains a lot. A burglar, fuirly common criminal sort, I should think, wouldnt you, Uttersoni Irs your profession, after all, crimes and courts? ulUTTERSON. A solicitor does all he can to make sure his clients don’t end up in court. DR. LANYON. This housebreaker fellow was good at what he did, hadn't been caught in a year and a half. JEKYLL. Nineteen months, to be exact. DR LANYON. Yes, Jekyll’ up on the particulars. Nineteen months and the fellow isn't caught, Has a job, wife, family, friends, and then tone night a neighbor hears something — crash, bang, sereams — tushes next door to find the man in the middle of his kitchen, cov- cred in blood. Held slaughtered his family. His wi, his child. JEKYLL, Children. There were two. DR. LANYON. Obviously the wife found out her husband was the housebreaker, she confronted him, he did away with her, child sees the wife done away with, child has to be done away with as well, and so on down the line. But when the police arrive and find the fellow covered in blood, red-handed as it were, whac does the fellow say? He says, “What have I done?” UTTERSON. Ie seems an innocent enough expression of disbe- lief, Although “innocent” is perhaps the wrong word. DR. LANYON. I agree, Man murders his family, says, rhetorically “What have I done#!” the way he'd say it to his confessor or God. Bur Jekyll hears those words differently than I, dontt you, Jekyll? Jekyll hears them as — JEKYLL. (All innocence.) “What have I done?” DR. LANYON. Jekyll thinks the question was not therorical. UTTERSON. ‘So the proposition...? (Lanyon grins and indicates that Jekyll should speak.) JEKYLL. Icis possible the man did not believe he committed the crime. In his mind, the crime had been committed by someone else. DR. LANYON. And that, gentlemen, is where you came in. And where I go out. (Poole, the bualer — played by the one of the female ‘actors — enters with Dr. Lanyon’ hat.) Jekyll, thanks for the dinner and brandy. See you at Dr. Carew’ lecture in the morning? The bas- tard’s got a good one tomorrow — prostitute done in by dog, Carew’s going. to determine whether she died from the canine rip- ping through her neck or from a disease carried by the canine’ teeth Fall dissection, Tickets are going fast. (Dr. Lanyon winks and exits.) Poole, open the other brandy, would you? Yes, sir. (Poole exits.) are late coming. I chought you said nine o'clock. 12 ENFIELD. We came ‘round the long way. ULTERSON. You look upset, Henry. JEKYLL. Do PT suppose I am. les the way Lanyon and I got onto the subject of those slayings in Scotland. It hs to do with Dr. Carew. Ca I don’ understand. , ‘LL. Dr. Carew wants one of the bodies for dissection purposes. JTTERSON. Heavens. The murderer? at JEKYLL. No. UTTERSON. The wife? JEKYLL. He wants one of the children, JTTERSON. That cant be legal. JEKYLL. ‘That wouldnit stop Sir Danvers Catew: (Poole reenters and ‘pou two brandies, one for Uteerson, one for Enfield.) He's been taking soundings around the hospital, to see if there might be a way to get bald ofthe bois 1 shar dhe commits on eis Cae knows Lanyon's my friend, so he asked Lanyon to bring it up tonight. UTTERSON. [suppose an argument ean be made (Poole exit) JEKYLL. For what Disecting the cadaver of a child? EiESON. Well, cant the body of a child be of as much use, JEKYLL, It’s nor for “use” he wants it! We know what the chil died of We know what happens when acidgd icbraght dows on a head. We know what happens to the blood vessels and the inte- ior organs when a bade is shoved through the visceral Thee is no ect Goer st hows is of interes. Fin sory. The man dos ENFIELD. Wel, I'm sorry then to bring up wh: pune ry then to bring up whae may be another UTTERSON. Enfield, let’s not — JEKYLL. What? (Neither responds.) What is i? ENFIELD. Well, now I have to tell him. Told a story to Utterson on our way over. On that rough street back behind the canal, met glow whol done a gl wrong Insite he py fo the ples ie wrote a cheque, I doubted it, and ma : he wrote chau 1 it, and he showed me a letter con- JEKYLL. Signed by Henry Jel. ENFIELD. ... Yes. ea UTTERSON. We wondered why you would allow yourself o put your name to such a piece of papes, especially since... well put plain, he’ not quite your sore, Henry, is he? 13