FRANKENSTEIN

Frankenstein is a stage adaptation by Nick Dear of Mary Shelley's 1818 novel Frankenstein; or, The Modern Prometheus. As the programme for this production stated in some detail, there have been many such adaptations of the original novel, almost as soon as the book itself was published. This adaptation took its world premiere at the Royal National Theatre in February 2011 and was renown as it was directed by Danny Boyle, with a cast including Benedict Cumberbatch and Jonny Lee Miller, with the two lead actors alternating the roles of Victor Frankenstein and the Creature. Both shared the Laurence Olivier Award and London Evening Standard Theatre Award for Best Actor in a Leading Role in a Play for their respective performances – so no pressure Bradfordians(!), but this probably indicates both the quality and significance of the piece. The key difference in Nick Dear’s adaptation is the story is told from the Creature's perspective, rather than from Victor's. Because of this, the audience witness events, such as his relationship with De Lacey firsthand rather than in backstory.

It is always a great experience to see a performance on the Tithe Barn, and as usual this was no exception. This was effectively a minimalist set (despite its scale), with a large central rostrum that contained a recess to the floor and the free-standing lighting rig mounted around and above. This allowed an open view down the Tithe Barn itself to a smaller rostrum positioned further down away from the audience. Good use was made of the aisle up the middle of the seating in the opposite direction, particularly the steps in the middle that became a refuge for the Creature in Act 1. This style of set suited well the stark and eerie nature of the production. There was a good use of blown haze across the stage to add to this effect. The opening of the production – the birth of the Creature was quite incredible. Over a period of minutes, the audience gradual realised that the rise and fall of the material over the recess was effectively breathing, before the Creature was gradually able to stand and fight its way out. This was both mesmerising and horrifying. The only slight downside to this on a low stage was that while it was all visible for me (as I was sat the end of an aisle), it was less so for those next to me as people were sitting behind others at floor level.

Scene changes were made continuously and very effectively through a good use of cast and some thoughtful planning. It was a long way to come to the stage from the rear barn entry point (though some entrance and exits were made through the two side doors), but the static holding positions for those waiting to make the changes worked well.

Properties were appropriate and well-managed also. I wasn’t sure about the realism of the body sacks until William came out of one!

The lighting design and application integrated with the set design really well, considering the limitations of the freestanding rig requirements available. There was a good use of colour via the LEDs that was developed as the performance progressed and was integrated further with lighting at the rear of the barn, creating some dramatic effects to really support the drama – the deep reds in particular. The fire effects worked really well too. Coverage and cueing were very good – the curtain call itself being a particular example. The sun through the cross window at the back, thought probably incidental, enhanced the effect as well. Overall, I thought the lighting was very impressive and a key part of the production.

The sound was very good too. The 3 hanging pick-up microphones and the 2 Shotgun types at the front were able to catch all of the dialogue really clearly at all stage positions, as well as some strong voice protection from the cast, ensured that nothing was missed. The supporting music was very well-done and a key feature of the atmosphere you were able to create – it did not distract from, but only enhanced the production. It was also well-cued and didn’t affect the audibility of the dialogue to me. The choice of music I believe drew from the original Frankenstein soundtrack, produced by Underworld in 2011 as the score for the play. However, I did notice some other appropriately worked in pieces, ranging from Radiohead to Stormzy. Well done!

Costume, Hair and Make-Up. Though set in the period of Mary Shelley’s writing I believe, with some costumes of the period, the majority of the costumes looked contemporary, particularly for the smaller roles. Though I was unsure why there was this blend, it didn’t detract from the production. Costumes were generally of a good standard and fitted well. However, the key challenge in this production was the Creature’s attire, which I thought was quite excellent, as well as the supporting make-up for the Creature, the Female Creature and William’s resurrection role too.

The direction of the production was very strong. There was a very clear theme and vision for the production that was evident throughout, which ensured some excellent integration of all of the various aspects. You’d added your own touches to the setting, most of which worked very well and enhanced the performance. The Creature’s fantasy dance with the Female Creature felt a tad long, but other than this, all was good.

In reviewing the principal performances:

• The Creature. This is an intense and demanding part and you put in a quite incredible performance from beginning to end. This ranged from the impressive physical acting at the ‘birth’ to how you continually help your frame, arm and foot, right through to the physical development of your emotions, language and knowledge. Essential for the part to be a success, you maintained the audience’s sympathies and understanding, despite all of the horrific acts you completed, who were willing them not to be so. This was a very skilful and memorable performance - very well done.
• Victor Frankenstein. You got across the arrogance, self-centredness and inability to love of the Creature’s creator, despite his skill and ability in the creation which is an essential requirement for the audience to make sense of the proceedings. Again, you cleverly maintained our strong sympathies for Victor to make the right decisions and their pain when you made the wrong ones. A very strong and accomplished performance – great work!
• Elizabeth Lavenza.  This is a difficult part as Victor’s Fiancée, but you brought energy and a lightness to the story as almost the very opposite to Frankenstein. The quality of your acting in perseverance to try to change him and your reasonableness to the Creature made your murder at his hands all the more shocking for the audience. A nicely delivered performance.
• De Lacey.  This was another strong performance as the blind man who looks after and educates the creature at the start. Your dialogue exchanges with him were both impressive and thought provoking. You played being blind very well too.
• Monsieur Frankenstein. As Frankenstein’s father, your performance focused frequently on high emotion, which you managed well as an actor, without taking it too far. Good work.
• Felix and Agatha. You both built a believable relationship with good characterisation as a hard-working couple, which made your response to the Creature all the more shocking for the audience. Very well put across both.
• William Frankenstein. This was a very consistent, considered and well-controlled performance from a young actor as Frankenstein’s younger brother – both alive and as a talking corpse to haunt Victor. Very well done.
• Ewan and Rab.  As almost the comic relief in this very intense play, you both worked well together as Victor’s Orkney Isles Grave Robbers. Nicely done both.
• Gretel, Gustav, Klaus, Clarice and Servant. Great support from the ensemble in filling a variety of roles around the travels of the central characters.
• The Female Creature.  A well-controlled and believable performance on your reanimation and also in your dance section.

In summary, this was another quite excellent production from The Bradfordians. The performance was compelling, horrifying, intense, emotional, thought-provoking and to a very high-standard. All of the aspect from the actors to the staging, lighting, sound, costumes and the music all came together in a very coherent and impressive way. Very well done to everyone involved for a great evening of high-quality entertainment.

PLEASE NOTE:

Any observation made by the reviewer can only be based on what he sees at the performance in question.  The reviewer may have received information in advance of the performance and it is inevitable that his assessment will be effected by that knowledge.

The N.O.D.A. Representative’s intention is to give an objective critique of the overall production and in particular the performance viewed.  It should be remembered that any review of this nature can only be objective as far as the techniques used during the performance observed.  Any criticisms expressed may not have been valid at other performances, and are only made to encourage higher standards in Amateur Theatre.

It is hoped that the audience’s appreciation of your efforts will have given everyone a lift and encouraged you to greater achievements in the future and that the observations made by the reviewer will prove helpful in improving future productions.

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