If Robert Louis Stevenson were alive today to see City Theatre’s new production of his classic novella, “Dr. Jekyll and Mr. Hyde,” he would almost immediately feel as if he were in his native Victorian London, thanks to the realistic scenery, costumes and ambience.

But he would immediately thereafter be confused as we are thrown in the middle of a depressing chant and confusing action. He would discover that there isn’t one Mr. Hyde, but four.

The simple yet profoundly symbolic set consists of two wooden ramps extending in an open embrace to the audience originating from a decagon painted on the ground, split in half. The decagon is split to evoke the overall theme of the play: two opposite campgrounds that can never be one but must coexist with one another.

But the crowning glory of the set is the simple wooden door through which the characters must enter and exit. The doorway is adorned with the half-decagon and echoes another theme: Who will win the battle? Will it be the sunset of Dr. Jekyll and the sunrise of Mr. Hyde? Or vice-versa?

Let’s talk about split personality; Dr. Jekyll not only has the evil Mr. Hyde encaged in himself but also has four facets (and four actors) to Mr. Hyde: the lover, the thief, the rude egotistical woman, and persuasive sweet talker.

Though all the actors demonstrated talent, there were a few instances when Sir Danvers Carew, portrayed by Nick Gailbreath, could have stopped the excessive bellowing tantrums that added little to the fright factor.

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Van Brunt portrays Elizabeth Jelkes, the love interest of both Jekyll and Hyde. Her character holds the two decagon halves from drifting away and yet she is the one character that causes the two halves (Jekyll and Hyde) to conflict, rub, and explode in tension, drama and emotions. Both characters fall in love with her but only one can have her in the end.

Her character carries the production and is the catalyst that propels the play to its exhilarating climax in Acts I and II. If only the supporting cast contributed to the play as Van Brunt did.

But as a disclaimer to those thinking the production is a frightening treat solely because its promotions say so and is playing in the month of October, it isn’t.

It lacks the spooky and kooky, the chills and thrills but nonetheless presents us a philosophical thinking exercise for those who want a mental stimulus.

For more information visit www.citytheatre.net.