Under Mark Kilmurry’s excellent direction we are privileged to see a magnificent, gripping and troubling production of Mary Shelley’s classic gothic novel, Frankenstein; or, The Modern Prometheus. Playwright Nick Dear has adapted the famous proto-science fiction story for Britain’s National Theatre, chopping and changing some sections, but largely staying true to Shelley’s powerful, questioning original.
Lee Jones as the Creature is extraordinary and gives an astonishing, bravura performance that dominates the show. He is towering and looming, at times childlike and at others menacing. We mostly see the story from the Creature’s point of view and he is portrayed very sympathetically, an unfortunate victim of circumstance.
Jones has a marvellous extended opening solo where we see him wordlessly discovering space, the environment and his body. At first, he is extremely ungainly but we see him gradually discover speech and education with the help of the blind De Lacey. Circumstances drive him to be evil and destructive, though underneath he is good. The Creature has deep philosophical discussions about the meaning of life and faith: is there a God? Why was he, the Creature, created? What is his purpose in the world? What is the meaning of life? What is good? What is evil? What is love? A joyous, intimate dance sequence explores the Creature’s vision of his possible partner. He is driven by loneliness and we feel for him as he is beaten, despised and rejected, becoming an eloquent ‘Everyman’ for all outcasts.
Victor Frankenstein (Andrew Henry ), the Creature’s creator, is shown as rather stuffy and obsessed, tormented by an unquenchable thirst for knowledge. It is interesting to observe that at the end of the play, Frankenstein ‘s body language becomes very similar to that of the Creature’s at the beginning as they torment each other on the ice.
Katie Fitchett is delightful as Elizabeth, Frankenstein’s fiancée, a role that makes powerful comments about women’s education and the society of the period. In a dual role as the female ‘creature’ she is robotically enchanting, a trapped butterfly.
Michael Ross as the blind De Lacey gives a heartwarming, profound performance, teaching the Creature the mysteries of language and philosophy, and the joys of music.
Brian Meegan, Michael Rebetzke and Olivia Stambouliah in their multiple smaller roles give excellent performances.
Simone Romaniuk’s wonderful set designs are sparse, fluid and atmospheric. Much use is made of a circle in the middle of the floor. The two cascading drapes become everything from trees to hospital curtains, to heavy drapes in a drawing room or light, airy, floating romantic bedroom curtains. Nicholas Higgin’s atmospheric lighting designs are exceptional.
Cellist Heather Stratfold in a billowing grey and white dress provides the musical backdrop, playing Elena Kats-Chernin’s lyrical, anxiously scurrying and ominous score.
A powerful, confronting production.
Rating: 4 stars out of 5
Frankenstein
By Nick Dear
Based on the book by Mary Shelley
Director: Mark Kilmurry
Designer: Simone Romaniuk
Lighting Designer: Nicholas Higgins
Composer: Elena Kats-Chernin
Sound Designer: Daryl Wallis
Cellist: Heather Strafold
Cast includes Katie Fitchett, Andrew Henry, Lee Jones, Brian Meegan, Michael Rebetzke, Michael Ross and Olivia Stambouliah
Running time: Two hours (approx) no interval
Sydney Opera House
27 March – 13 April
Ensemble Theatre, Kirribilli
17 – 30 April
