Frankenstein

KPYT are celebrating their 10th year, initially being set up by Jake Powell who also directs this production based on Mary Shelley’s novel about Victor Frankenstein, who creates a monster from different body parts - her earlier travels in Germany fuelling her novel. First published anonymously in 1818 and again in 1831, it is one of the best-known works of English Literature and used in many schools today.  A gothic novel combining romance and horror. It explores isolation, scientific pursuit, revenge and nature versus nurture

The set was simple and helped aid the flow of the piece. Off white curtains were draped across the full length of the back and the sides had been cut vertically to allow entrance and the middle with cut to use dramatically and theatrical. A box on wheels then had various uses including being able to be stood on. Chairs were then brought on by the cast for various scenes.  Stage Left was a permanent set of where Mary Shelley did her writing with desk and chair. At the back of that on the wall were two wooden screens. Set was Vic Woodhams and Team. Sound was appropriate and added to the piece including Radiohead’s Creep and Pachelbel’s Canon in D - Sound by Kate Burgess. A difficult space to light being so wide but the effects were noted - the atmospheric lighting really worked, including the red light of the fire at the end. Lighting and AV Mike Vickers.  The costumes were appropriate and some representational bits of costumes helped too with the quick changes. Costumes by Jake Powell. 

The director, Jake Powell takes inspiration from the National Theatre’s 2011 production of Frankenstein where the roles are interchangeable. Jake goes one step further and instead of alternating each night, it’s left to chance each night who plays what in either Victor Frankenstein or the Monster. Yes, two sets of lines to learn, bet they love you, Jake! The cast of seven - some playing more than one part take on the challenge. Working well together as a cohesive unit the story unfolds with the use of narration. Just a note - one or two just watch looking out into the audience and catching people’s eye as it detracts from the story you are telling. I know the fourth wall was not always there as it was a very Brechtian piece but you need to keep inside the story. That said there was a linear line to the story telling and it was  done well.

George Robinson played Walton, William, Henry, Felix and chorus, bringing great energy to the parts. As Henry, his concern for his best friend was played out well and you could feel the tension.

Teigan Withey played Elizabeth, Safie and Chorus. As Safie she contrasts to the monster as she is welcomed into the house, unlike the monster. Elizabeth is the ill-fated wife of Frankenstein. Great death scene.

Scarlett Robinson as Mother, Justine, Agatha and Chorus, having a quick change from mother to maid Justine. Scarlet gives a convincing portrayal of the wronged maid. Scarlett also did the great make up on the monster.

Joel Haslam played Master, Father, Peter, Waldman and Chorus. Joel did some great accents in which diction was clear. Added to that he sang and played the guitar, taking on the role of the disliked Professor that inspires Victor Frankenstein – whichever character he inhabited, he was very centred – well done!

Liv Deakin takes on the role of Mary Shelley - overseer and narrator of the piece. She is driven by a waking nightmare and also personal tragedy. Responding to a writing contest she had a vivid nightmare that haunts her. She is fascinated by Galvanism - giving electric shocks to dead muscles or bodies. We see Liv play out her nightmare before us and push for more. She is also the tortured one.

Finley Savage plays on the night I saw it Victor Frankenstein. Driven on by Mary and his own curiosity he literally unleashes the beast. I like how the assembling of the monster was done in the box and left to our imagination. So, the reveal was greater. Joseph showed us Victor’s demise throughout the play with each person he lost. So there was nowhere to go in the end.

Joseph Tomlinson as The Monster gave us a very physical performance, He could twist and turn his body into shapes that were mind boggling including a fall from a height. Joseph didn’t stop there with a great connection to the text he managed to bring moments when you actually felt sorry for him. He just wanted to be accepted. His stillness worked, his rage worked and never overplayed - just right with a connection to what he was saying. It was intense in a good way.  A skilled and excellent performance.

Thank you for the invite from my guest Matthew and I and I wish you well in your tenth year and beyond.

 

Liz Hume-Dawson

District 5 Rep

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