By Nick Dear. The Street Theatre. 8 May 2013
As the wise members of Jefferson Airplane once said, “we all need somebody to love” – and we need look no further than Mary Shelley’s infamous story of Frankenstein to understand the consequences of a life starved of this precious human commodity. This most compelling stage adaptation of the novel by Nick Dear expresses this sentiment exquisitely.
Through a thick haze of fog and haunting cello, this production begins at the moment Dr Victor Frankenstein’s Creature is brought to life. Writhing and tormented by the overwhelming sensations being experienced in his new body, we see a primitive form of life born before our eyes. However, the hideousness of Frankenstein’s creation strikes horror into the heart of the scientist, and he swiftly rejects it.
Wandering the unforgiving streets of Geneva, Switzerland, the Creature is brutally beaten and retreats into the solitude of the countryside. The story differs slightly here, in that Dear’s version has the Creature befriend a blind old man who teaches him to read, write and reason, rather than watching from a distance like in Shelley’s novel.
However, the essence is the same: when discovered the rest of the family demonises the Creature, and subsequently his trust in mankind is irreparably damaged. He then goes on to confront his Frankenstein, pleading with him to fashion a female companion to ease his chronic loneliness. Frankenstein, surprised by his Creature’s intellectual sophistication, obeys his request. But when faced with the moral dilemma of the two potentially breeding, he destroys the bride to prevent more chaos being unleashed.
This enrages his Creature further, who takes his vengeance on Frankenstein by killing his wife on their wedding night. With no one else aware of the creature’s existence, Frankenstein is blamed for the murder and thrown into exile. With only his Creature for company, the slave becomes a disturbed master.
While staying true to the original, Dear takes a more streamlined approach in his version of Frankenstein. Although some elements are omitted, there is a stronger focus on the evolution of the Creature and his sparse but meaningful relationships with those around him. This builds a level of sympathy to such an extent that it is completely devastating to see the misunderstood wretch rejected and reviled at every turn, despite his real worthiness as a human being.
Lee Jones’ heart wrenching and endearing portrayal of the Creature was magnificent, and very likely a career defining performance. It is rare to witness such an extensive investment in a character by an actor, and as my friend observed, he must have been completely exhausted by the conclusion of the show. His ability to provoke such intense and wide-ranging emotions was admirable, transitioning from animalistic fear, childlike wonder, profound sadness and finally to bitter vengeance with equal conviction.
Likewise, Andrew Henry as Frankenstein held his own against Jones, playing the perfect counterbalance as the cold and clinical, ethically dubious scientist. It seemed as if there were an invisible force field between the two, representative of their battle of wills, with Jones insistently attempting to break through it and Henry just as resolute in maintaining it.
The supporting cast (Michael Rebetzke, Brian Meegan, Katie Fitchett, Michael Ross and Olivia Stamboulah) were outstanding, appearing in carefully measured flourishes to build momentum for the central characters. No matter how minor the role, each fuelled their scene with energy, leaving a lasting impression on the next.
Heather Stratfold as the evening’s cellist provided the most congruent original score imaginable, blending in to the production seamlessly, while playing a key role in conducting the intense and shadowy soundscape. This was complemented with rudimentary but highly creative sound props operated by the cast, with the bubble wrap campfire especially innovative.
Equally, the gothic lighting and nightmarish stage design by Nicholas Higgins and Simone Romaniuk respectively, was stark and understated but incredibly effective in capturing the various emotional seasons of the cast.
It is obvious there is an artisan behind this home grown production of Frankenstein. Ensemble Theatre’s Mark Kilmurray at the helm as director displays an attention to detail that borders on the pedantic. He has pushed each performer to their limits, while achieving a fine balance between action and reflection as well as comedy and tragedy.
More over, the story at its core challenges the audience by peeling back the layers of what we take for granted as human nature, challenging the concept of unconditional love with a less palatable alternative.
In short, Frankenstein is a gripping piece of theatre that will no doubt confront and inspire even the most discerning theatre aficionado. If you only go to the theatre once this year, consider this show – bravo!
Deborah Hawke
When: 7 to 11 May
Where: The Street Theatre, Canberra
Bookings: thestreet.org.au
