Keith Claverie Brings Humanity to Mad Scientist in The NOLA Project's FRANKENSTEIN

Keith Claverie steps into Victor Frankenstein this October, portraying one of literature's most challenging roles in The NOLA Project's production of FRANKENSTEIN at Greenway Station. In a wide-ranging conversation, the actor discussed the challenges of humanizing a character often labeled as the true monster of Mary Shelley's classic tale.

This marks the third gothic adaptation that playwright Pete McElligott has created for The NOLA Project, following productions of The Legend of Sleepy Hollow and Dracula. According to Claverie, McElligott's approach maintains the essence of the original story while making it more accessible to contemporary audiences.

"Essentially, it's the same story, but just a little bit more modernized to a point, but then also adding lots of humor and kind of more relatable situations," Claverie said. "It's kind of like an anachronistic approach to the novels."

The modernization comes primarily through language choices that feel more natural to today's audiences.

"It's just something that our ears are maybe a little bit more attuned to hearing in terms of the language and just making it a little bit more digestible for today's audiences," Claverie said.

Finding Connection in a Troubled Genius

Like all cast members in this ensemble production, Claverie plays multiple roles throughout the show. The cast functions as a true ensemble, with actors doubling in several parts, though he and Michael Aaron Santos, who portrays the creature, carry the fewest additional characters. For Claverie, the key to understanding Victor lies in exploring the character's psychology through the play's flashback structure.

"We get a lot of his upbringing, his early experiences with death and the loss of a parent and kind of not having any sort of relationships outside of his younger brother," Claverie said. "It was fascinating to me. Even though it is very much comedy [it comes from] this from a very realistic and almost intense place."

While Claverie identifies with Victor's drive and determination, portraying the character's willingness to push past ethical boundaries proved challenging. Working closely with director Leslie Claverie and the ensemble helped him navigate those barriers.

"I'm not a very confrontational person, so it can be a little bit hard for me to grasp that someone would just stop at nothing to get their way," Claverie said.

Monster or Man?

One of the central debates surrounding Frankenstein has always been whether Victor or his creation deserves the title of "monster." For Claverie, keeping Victor from becoming a cartoonish villain requires grounding the performance in authentic emotion.

"I think the key to keeping Victor's humanity alive is playing those stakes, making sure that he doesn't become too cartoonish in his villainy," Claverie said. "It's important to make sure you feel those moments of despair and sadness so we have connective tissue for later, for why he's pressing. It's because he feels like, maybe for once in his life, he has control over something."

The script provides Claverie with a crucial moment of reckoning near the play's conclusion.

"Pete has blessed me with a nice monologue toward the end of the play where Victor says, I'(M) Willing to admit now, having seen this all played out, that I might have gone a little too far," Claverie said.

The relationship between Victor and the creature forms the emotional core of the production, and Claverie credits his working relationship with Santos for bringing that dynamic to life.

"We're the type of actors who give each other a heads up if we're going to try something a little bit differently," Claverie said. "When we're playing scenes together, we've cleared out all of the awkwardness and we're able to just go and play."

Themes That Resonate Today

While Frankenstein was written over two centuries ago, Claverie believes the play's exploration of obsession speaks directly to contemporary audiences.

"Everybody in the play is after something, and they can't stop until they get it," Claverie said. "For several of the roles, people have to work together to make that work. It's not a journey you can take on your own…It's easier to proceed and succeed as a group than as one.”

If Victor could offer advice to today's world, Claverie believes it would be simple: "Slow down. Take a breath, look at your surroundings and see that there are people around you who want to help you. Maybe just recalibrate, rethink things, and if you see things a little bit more clearly, then the end result may be better for the greater good.”

Theater in the Open Air

Rehearsing at Greenway Station has provided unexpected moments of connection with passersby. Claverie recalled one particularly memorable encounter when a spectator asked if the cast was doing improv and whether they could join in. Another time, a young boy became so engrossed in watching the rehearsal that he refused to leave despite his parents' urging.

"He was like, no, I need to stay and see how it finishes," Claverie said. "Those moments have been cool."

The accessible venue aligns with The NOLA Project's mission to create theater for everyone.

"While there are touching and heartwarming acting moments, it's definitely a comedy and it's for all audiences," Claverie said. "If this is your first entry into Frankenstein or gothic horror, or your 50th, we welcome you."

The NOLA Project's production of Frankenstein runs through October 17 at Greenway Station, 436 N Norman C Francis Parkway. For tickets and more information, visit nolaproject.com/frankenstein.