Frankenstein

Gothic plays should be dark and atmospheric and this new interpretation of the classic tale of Frankenstein and his creature had this in abundance. The play was written by Antony Jenkins and Nickie Bates; in fact this is Nickie’s debut production and she also took on the role of director.

We had settled into our seats and absorbed the sparce set of tattered hanging drapes with little else, other than a pile of rags on the stage. Enter a couple who embark on a long and protracted kiss, I was surprised they could still breathe, when the rags transform into the creature. It was a complete surprise and all credit to Chloe Booton who had not moved for some considerable time, and when she did, she slithered and writhed across the floor in the most mesmerising way. This began the creature’s journey leading us through a revelation about feelings, prejudices and fear having been abandoned by her creator, Victor Frankenstein. Chloe was phenomenal in this play and drew us in until we felt sorry for her and wanted her to have the life that Frankenstein had inadvertently given her. Not an easy role to play but done remarkably well by Chloe.

The play had several stories intertwined within it and there was a lot of set changes that switched with just a dip of the lights and the shifting of a simplistic set of props. It was mainly moved on and off by the cast and my only observation was that the lights could have been held a fraction more to enable the scene to be set.

Enter a blind man, his son and daughter in law who are in an impoverished state and so the couple leave the man to seek sustenance. The scene was touchingly played by Jess Gilbert and Joseph Rolt as the couple; their empathy was tangible and gave a depth of sadness to the situation. Phil Davies was exceptional as the De Lacy the blind man and his monologues delivered with pathos and sorrow. When he encounters the ‘Creature’ and accepts her for who she is was extremely touching. The teaching of Corinthians 13 was faultless on both Phil and Chloe’s part and really moved me as this passage is a particular favourite of mine.  The return of the couple and their abhorrence of the ‘Creature’ was the start of seeing her as a person with real feelings and a sense of pity began.

The Frankenstein household were well cast with William Moore as the egotistical Victor Frankenstein, creator rather than medic who realises too late just what he has done. In trying to recreate his lost love Elizabeth, he is horrified at what he has produced. His realisation was portrayed well by William with passion and frustration and horror in equal measure. His bother William, played by Jack Price, was such a gentle character; nicely played by Jack and his tender moments with the maid Justine played by Eva-Jean Wright were perfect. Eva-Jean played the distraught girl with a quiet sadness that was sometimes hard to hear as she was competing with the heating fan above my head, which was a shame as she was emotionally invested in the role. Janet Rose as her mother Mrs Horowitz the housekeeper was the glue who held the family together and did an admirable job. Claude was the man servant and a lovely cameo role for Hugh Farey, always a solid performer. Antony Jenkins did an incredible job as the father Alphonse Frankenstein; his character, the supportive father, was played with sincerity but his portrayal of the broken husband and father, finally losing his mind was heartrending. The back projected images intensified his neurosis, visually reflecting the inner turmoil he felt and amplifying his sense of hysteria. Very moving.

The final scene between Victor and his ‘Creature’ was the most emotive part of the play. The realisation that the creation was now the master was expertly played by William and Chloe and a true revelation of human nature.

Other roles were ably played by Steve James, Lewis Booton, and Andrew Cooper. I went home feeling completely drained but impressed with this faithful portrayal of the classic gothic tale. Well done Exit Fool Production.

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