Presented by Shake & Stir Theatre Co and John Frost for Crossroads Live. Based on the novel by Mary Shelley. Directed by Nick Skubij
Mary Shelley’s complex gothic monster horror story is giving new life in a multimedia filled production of technology
Reviewed by Annika Loci
Princess Theatre, MelbournenUntil 1st September, 2024
Tickets: https://shakeandstir.com.au/mainstage/frankenstein
Over the past two centuries, there have been many adaptations of Mary Shelley’s 1818 gothic novel Frankenstein from theatrical productions, silent films, children animations and dozens of movies. However the most influential in terms of cultural imagery has been the 1931 Boris Karloff movie and its sequels, with countless films and parodies using this as reference for decades.
With the crack of lighting and iconic cry of “It’s alive” the famous creature is depicted as a large looming zombie with nuts, bolts and scars across his green skin, with low intelligence and a childlike understanding of the world. However these pop-culture interpretations couldn’t be further from the illustration Shelley’s novel paints. Written when she was just eighteen, it’s often considered to be one of the first works of modern science fiction and the creation of the “mad-scientist” archetype.
Known for their modern day story-telling of well-known classics, Queensland based company Shake & Stir together with Crossroads Live bring a highly creative adaptation from Nelle Lee of Shelley’s vision come to life on stage. With innovative direction, Nick Skubji gives audiences a chance to experience and embrace the literary masterpiece as initially intended.
Frankenstein, Princess Theatre (2024). Images by Joel Devereux
Set on the brink of the Industrial Revolution it’s a classic horror tale of a young, highly ambitious scientist Dr Victor Frankenstein dealing with the consequences of his morbid fascination with death by creating his own living being out of various body parts. The tale is told from Dr Frankenstein’s point of view after being rescued on the North Pole whilst on the pursuit of his creation which, unbeknownst to him, has sought knowledge, developed language, experienced kindness alongside fear and hate from society as an outcast – creating a sense of blurred humanity.
With different themes of arrogance, power, empathy, and ethical dilemma played out through the narration of Frankenstein’s consciousness, and with each interaction between creature and creator becoming more devastating, questions and subsequent consequences arise of nature vs nurture, creation vs destruction, inclusion vs outcast and the choice to play God.
The themes found in classic literature such as Frankenstein are still as just as relevant as in the early 1800s. We find ourselves in the latest technological revolution with advancements in Artificial Intelligence and new medical procedures to name but a few. These also face questions on ethics and queries when our obsession with technology will go too far with its impact on society.
There is no doubt this production of Frankenstein is visually impressive in its large scale
Yet ironically, the design team use the latest technological advancements in theatre bringing this adaptation into 21st century. Using a digital backdrop of various screens, smoke and haze, pyrotechnics and fire (with the inclusion of classical music underpinning the works emotional tension) combined with the use of uneasy silences, creates a truly cinematic theatrical experience.
Designer Josh McIntosh together with Craig Wilkinson (Video), and Guy Webster (Sound & Composer) are able to transport audiences from sweeping landscapes and maze-like forests to various intimate settings whilst enhancing the characters internal thoughts and emotions. In conjunction with Trent Suidgeest‘s use of extreme lighting, the contrasts between darkness and vividness evoke emotion, varying locations and seasonal changes together with a simple revolve for props and cast to allow the story to weave from scene to scene effortlessly.
Leading this small but highly talented award-winning cast is Darcy Brown who take on the role of the ruthless young scientist Dr. Victor Frankenstein. Brown shows excellence in the demise of the charming young doctor, through to paranoia and ultimately the mad scientist full of self-pity who takes no responsibility for the consequences that he has created.
Playing opposite Brown is six foot four Jeremiah Wray as The Creature/Monster. Wray’s portrayal and onstage chemistry with Brown is outstanding from the moment of his explosive awaking to their final moments. In the simple scene of the creature learning to walk, Wray found inspiration from his toddler nephew, and uses his entire physicality revealing the creature’s determination, which felt similar to watching a newborn giraffe stand. Together with heartwarming moments helping a desolate family, learning language and also what it means to be human, Wray creates quite an empathic reaction, keeping audiences wondering at what points does this now poetic and eloquently spoken creature fall to his primal and violent side.
Shake & Stir have awoken Mary Shelley’s complex gothic monster horror story with a bang
The remaining cast of Tony Cogin, Nick James, Anna Lise Phillips and Chloé Zuel share a vast array of supporting characters in Frankenstein’s world. With impressively quick costume changes depicting the Victorian era, in conjunction with constant changes in stage placement and accent variations, the four convincingly embrace the meaning of ensemble theatre.
However there were moments where the company’s reach is perhaps more than it can grasp. Although Lee’s adaption stays true to Shelley’s text, Act One felt quite drawn out with some scenes unnecessarily complex whilst others felt too brief to give appropriate or desired depth, with occasional inaudible racing dialogue being overshadowed by supporting soundtrack.
There is no doubt this production of Frankenstein is visually impressive in its large scale multimedia presentation, however there is the question of the shows ability to create the intimacy needed for some scenes in a theatre the size of Melbourne’s Princess Theatre.
Shake & Stir have awoken Mary Shelley’s complex gothic monster horror story with a bang and should be applauded for giving new life to this classic. We are prompted to consider the power of human nature and ambition as our own latest technology advances continue to push the limits and, if kept unchecked, blur the ethical lines of reality.
Shake & Stir Theatre Co and John Frost for Crossroads Live present
Frankenstein by Mary Shelley
Princess Theatre
Adapted by Nelle Lee
Director: Nick Skubij
Creative Producer: Ross Balbuziente
Designer: Josh McIntosh
Lighting Designer: Trent Suidgeest
Sound Design and Composter: Guy Webster
Video Designer: Craig Wilkinson
Movement and Fight Director: Nigel Poulton
Creature Make up Design: Steven Boyle
Cast: Darcy Brown, Jeremiah Wray, Chloé Zuel, Anna Lise Phillips, Tony Cogin, Nick James
Tickets via Ticketek: $59.90 – $169.90
Performing at Princess Theatre, Melbourne until 1 September 2024
Tickets: https://premier.ticketek.com.au/shows/show.aspx?sh=FRANK24
Theatre Royal, Sydney from 28 September to 13 October, 2024.
Tickets: https://www.theatreroyalsydney.com/events/season-2024/frankenstein/
Production Warnings
This production contains: adult themes, simulated violence, suicide ideation, death and gore, as well as use of stage blood, smoke effects, strobe lighting and loud sound effects / music. It has depictions of murders, a death by hanging/execution, and of a house fire.
