Apart from perhaps a glimpse of some of the film when I was a child, I’ve not come any closer into contact with the Frankenstein story than Rocky Horror or Herman Munster. So it was with curiosity more than anything that I anticipated Tilted Wig’s production of Frankenstein, ending its short English tour at the Royal and Derngate this week. However, the briefest glimpse at a synopsis of Mary Shelley’s original is enough for me to realise how respectful and intelligent Sean Aydon’s adaptation is.
Set in 1943, Victoria Frankenstein has abandoned her family to devote herself to scientific research. Her ultimate goal is to create human life from the bones and organs of the dead. She has no concern as to how her creation looks, or feels, or speaks – if indeed it can do any of those things. Her only concern is that it remains a secret; one she shares only with her laboratory assistant Francine. On the night she hopes to create her life, the operation appears to fail – but, unseen by Victoria, the monster does indeed come alive and escapes the laboratory. This leads to a series of events with fatal results for everyone.
Nicky Bunch’s design gives us two sets. The opening and closing scenes of the play take place in the small, claustrophobic cabin where the “Captain” lives, giving shelter and food to Victoria when she’s starving and homeless. For the main story, the cabin opens up to reveal the laboratory, with tall windows and cabinets full of jars and artifacts, and the bed on which the monster is being created. The costumes are functional and suitably workaday apart from Henry and Francine’s smart going-out outfits and the stylish vivid red of Dr Richter’s dress. Hats off to Imogen Mercer’s make-up for meeting the challenge of creating Frankenstein’s monster; and Marc Watkins and Jason Addison’s lighting design works well, although there were a couple of first night fumbles which everyone politely ignored.
Overall it’s an excellent production, which tells its story very clearly – helped, I must say, by the immaculate enunciation of all the cast, which was completely delightful. Sean Aydon’s direction enhances the creepy atmosphere and beautifully balances subtlety with the grotesque. I love, for example, how Basienka Blake’s Richter doesn’t have to say a word to convey her contempt and loathing for Francine and Henry, based on pure ideological eugenics.
I’m almost ashamed to admit that I jumped in my seat about four times when there was a sudden noise or movement even though I knew there’d be a sudden noise or movement any minute. As a sucker for convincing stage combat, the scene where (Spoiler alert, sorry) the Creature kills Henry was performed immaculately by both actors, for which they have my absolute admiration.
Emily-Jane McNeill has superb stage presence as Dr Frankenstein; ruthlessly intent on carrying out her research whilst also revealing the character’s vulnerable aspects. Andy Cresswell avoids all stereotypes with a remarkably human portrayal of the Creature, neither thug nor fool, genuinely tugging at our heartstrings as he reflects on his frustrations and loneliness. Basienka Blake gives us two excellent characterisations, as the wary, hard-nosed Captain and the elegantly fascist Richter. And there’s superb support from Brianne Surgeoner’s faithful Francine, Tawana Dingembira’s urbane Henry and Lydia Whitehead’s Elizabeth. A very fine production and well worth catching.
Production photos by Robling Photography
Four They’re Jolly Good Fellows!
