Frankenstein 1930 by Fred Carmichael

This play is based on the 1931 film of Mary Shelley’s famous novel, but it is interlaced with comedy as well as the tragic and horrific elements one is used to.  It thus allowed Godalming Theatre Group’s strong cast to juggle skilfully with the balance between these aspects. Gripping it truly was, right to the very end, and witty too.

Godalming Theatre Group always provide a jolly welcome, and often go just that bit further. This time, in the bar – Priorsfield’s black-walled drama studio – one could acquire stunning blue, smoking, ‘eyeball’ adorned cocktails! A super idea, and tasty too!  Priorsfield makes a splendid venue, both the theatre and the black bar being just right, conducive to cheery mingling in the interval, and with good tiered seating in the auditorium.

We were given a well-designed programme with excellent, slightly spooky cast photos. One of these was in costume, the other three showed the cast arranged together in the order that their profiles appeared on the page. Not a smile in evidence, fittingly, just grim stares. I found this innovative arrangement very effective and amusing. Three interesting pages were included, a message from the Chair, from the Director, and a good piece on Mary Shelley. A good programme.

The set was a tour de force – I loved it, and even sketched it (in the dark!). The play of course was set in the 1930s, and there was a distinct art deco feel to the set. All angles and black beams against a white backdrop, with two angular legs either side. Both main elements of the play were on stage the whole time – the laboratory on a raised section at the rear, the family drawing room (with 1930s music on the radio, quietly, throughout those scenes) towards the right, at the front. This gave space for the cemetery, the forest glade, the inn, at the left with no additional scenery needed.  As for the creepy laboratory – there was a step ladder full of odd tools, including an ancient hand drill, and wrapped up body parts, one didn’t like to look too closely, and the mortuary trolley where the experiment took place. The light above this was once again of stunning design, justified of course, as it played a central role in the proceedings, as the electricity from the storm passed through it to bring the poor creature to life. I know this is a set I shall remember. As are various other GTG sets when I look back! All credit to Keith Thomas here, and what fun he must have had!

Obviously, with a play like Frankenstein, lighting is of paramount importance, and it was used to great effect to create the creepy and dramatic atmosphere here. We also had the most chilling and amusing sound effects as Frankenstein was working away on his cadaver to create his creature! A screech owl added to the scary night scenes.

Costumes were suitable for the 1930s' setting. Everyone was sporting spooky face makeup, especially Frankenstein and his assistant Gorgo. The creature was finely made up – slightly grizzly scars, but allowing his humanity to shine through.

Director Mary Logan had moulded her strong cast into a great nuanced performance of wit as well as high drama. The dialogue was very 1930s, almost like a radio play, and the cast, especially Elizabeth (Leanna Jones) and Henry (Nathan O’Neill) projected this pre-war delivery very well, with all the appropriate gestures and pauses.

Victor Frankenstein was played very well by Spencer Cummins, who seemed to have a look of perpetual surprise in his eyes – I suppose he needed to, as he never could know the surprises his experiment would have in store, nor the havoc his creature would wreck! Ambition was there too, and a certain recklessness.

His assistant Gorgo earned a good deal of sympathy for his lot, and for his desire for the Creature to be his new friend, as he had no other. Both sympathetically and amusingly played by Andy Roe.

The 6’9” Luke Seaman made a marvellous Creature, clumping loudly about the stage, and strangling everyone right left and centre. Yet, as I said before, his puzzled humanity shined through. Great performance.

Special mention must also be made of Carol Gallacher’s fine maid, Berta, source of a good deal of the laughter and light relief in the drawing room scenes. Paul Prebble’s Dr Hellstrom was a calming, sensible influence, and he kept his accent very well.

The rest of the team pulled together to add to the humour, the chills, the pathos, the suspense of what was a great production. I was scared. I was moved. I was amused. All in equal measure!

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