Festival Theatre, Malvern – until 18th November 2023
Reviewed by Courie Amado Juneau
5*****
Frankenstein: that iconic creation we all know, right? Well, it depends… For many the Karloff Monster (flat head with neck bolts) is the definitive one. Adaptor & Director Séan Aydon’s new version goes back to Mary Shelley’s book and re-imagines the story in a more modern setting (just before WWII), but is probably the most faithful ever regarding the original monster.
Loneliness is one of the key themes – this subliminal effect cleverly set up by the opening scene’s long silence in a log cabin that seems to drag on uncomfortably as a character we learn is called Captain has her solitude finally broken by another lone female visitor…
Having a female Doctor was very interesting, giving a different dynamic to the relationships. Eleanor McLoughlin played Victoria (not Victor) Frankenstein with great emotion, especially in those scenes where there was turmoil over the weighty moral decisions to be made or the consequences of her actions/inactions. I enjoyed her multi-dimensional portrayal much more than many I have seen.
Soon we are taken to the laboratory. An impressive sense of scale is achieved, mostly from the deliciously off kilter window that dominates. The exceptionally informative and attractive programme (undoubtedly the best I’ve seen) explains how the lab was lit in cold colours (blue etc) to highlight the scientific, clinical workspace. A striking contrast to the warm (and softly) lit cabin. The window also allows for the requisite lightning to be seen and heard – the sound effects and music propelling the action along nicely.
The Creature is arguably where any version of Frankenstein will ultimately succeed or fail. For me, this is the best Creature I’ve ever seen. From the agony of his first moments to his later disjointed movements and horrific emergence in rumour and person – everything was perfectly in tune with the original intention of Shelley’s creation. The strongest character, not just in brute strength but in emotional impact – a thunderous performance from Cameron Robertson, giving us a creation to recoil from, pity and empathise with. Missy Brazier’s make up and prosthetics helped enormously in conveying the Creature’s plight and his horrific physical presence.
The rest of the cast were fantastic too with Dale Mathurin playing likable love interest (Henry), Lula Marsh (Elizabeth) providing wonderful sisterly juxtaposition against the work obsessed Victoria and Basienka Blake giving us the aforementioned Captain and gloriously officious Richter. All added much and provided some relief and normality into the proceedings.
The incredible script explored the Creature’s role of victim and outcast being treated poorly, and his feelings toward the woman who made him, asking wider questions about societal neglect and collective responsibility. Francine (as lab assistant) had a wonderful scene in which she interrogates (and berates) the Doctor for her various reactions to her experiment and how to resolve it. A thought provoking discourse, sensitively delivered by the fabulous Annette Hannah, regaling us with one of the plays pivotal moments.
This has been my favourite Frankenstein ever. A superb interpretation – thoroughly modern and with a relevance that does the script much credit. Impressive. You don’t need a torch wielding mob to catch this Frankenstein – just visit the amazing Malvern Theatres box office. Unlike the Doctor, you won’t regret seeing it.