Much like the man himself, Jekyll And Hyde is a story that has many faces, often being adapted very loosely over the years. This new play from Gary McNair takes the story back to its roots by making Dr Jekyll’s lawyer, Mr Utterson, its sole narrator. There is a true feeling of Gothic horror in his recounting that is often missing in other adaptations. The vivid language and sparseness of the set force an audience’s imagination to fill in the blanks, no doubt to far scarier effect than anything that might actually be shown onstage.

The palpable terror of Jekyll And Hyde can also be ascribed to Forbes Masson’s excellent performance. Carrying a one-man show is always difficult and especially so in this case because of the characters’ similarities. How do you differentiate between a bunch of wealthy Victorian gentlemen? Masson does it with ease, conveying the action with minute changes to his voice and mannerisms. He moves smoothly between fear and wit, his rapport with the audience making those moments of horror all the more effective.

Every element of Jekyll And Hyde combines to make the imagination run wild, especially its lighting and sound design, which work perfectly in tandem. The grotesque glowing door behind which Mr Hyde lurks is accompanied by a faint thrum whenever it appears, subtly hinting at terrible things on the other side, while the sound of an old-fashioned flashbulb ushers in a sudden bright light. Lighting and sound are very minimal, and both evoke an eerie sense of unease that complements the stage’s unsettling emptiness. The play’s greatest strength is how little it shows. With its skilful storytelling, sparse set and ghostly lighting, Jekyll And Hyde allows the indescribable to remain just that.

Jekyll And Hyde, Perth Theatre, until Saturday 3 February; Dundee Rep, Wednesday 7–Saturday 10 February; Macrobert Arts Centre, Stirling, Thursday 15–Saturday 17 February; reviewed at Lyceum Theatre, Edinburgh.