We all love a chorus line. We love the coordination, the sense of shared endeavour and the way the stage is filled. But what if a chorus line were a force for evil? Instead of a joyful celebration of mutual enterprise, what if it were something protective and sinister?
That is the case in the ensemble of top-hatted gentlemen who stand as one behind Nicholas Shaw’s Dr Jekyll in this #MeToo-influenced adaptation of the Robert Louis Stevenson novella. They form a chorus, yes, but it is one designed to close ranks, evade scrutiny and maintain the status quo.
