Review: FRANKENSTEIN, Richmond Theatre

Mary Shelley's literary masterpiece, Frankenstein, is a cautionary tale of the consequences when a man decides to play God. Victor Frankenstein, a gifted young scientist, aims to create the perfect human specimen. When his creation goes wrong, Frankenstein bitterly rejects the monster he has created, who then seeks furious and murderous revenge.

The story is familiar to many and has been adapted numerous times. Rona Munro's version has the idea to put the teenage Mary Shelley herself onstage and commentate on the story as she creates it. As a concept it has the potential to work very well, especially as we see Mary invested in creating the story in parallel with Frankenstein creating his monster.

Unfortunately, the voiced inner workings of the writer's mind are clunky and rather obvious. The idea is to recognise and celebrate the remarkable achievements of Mary, particularly in the context of her struggle against the patriarchal systems of the time. However, the Shelley Munro creates seems to think of herself as very clever; confidence is one thing, but annoying, didactic arrogance is another. The audience should feel at the heart of the creative process with this device, but the commentary adds little to the production; rather, it grates and trivialises the story.

Scottish actor Eilidh Loan takes on the role of Mary; she plays an animated and vibrant 18-year-old, but the script makes her come across as too modern in her vernacular and attitude. She strides around the stage in her long leather coat, interrupting the flow of the story with her narration. Loan often adopts an unfortunately petulant tone and needs to bring more light and shade to the role.

Ben Castle-Gibb makes a solid stage debut as Victor Frankenstein although he is slightly too frantic and a little exhausting to watch. Michael Moreland is a restrained monster, given more scope in the second half of the production as he builds to a violent rage having been rejected.

The remainder of the cast play multiple characters and sometimes it is difficult to differentiate between them all. Scottish accents are also a struggle for some. Natali McClearly is the most convincing and very sympathetic as the saintly Elizabeth.

The production does look suitably gothic, with a cold, bleak and monochrome feel. Despite Becky Minto's starkly atmospheric set with layers of windows and balconies, what is essentially lacking is tension. Suspense is missing in most of the production, despite the best efforts of the sound department throwing in whispering trees and thunder claps.

The original story is a one of gothic horror, but also a warning about science impinging too much on nature. These themes are not explored enough and the production sometimes feels rushed and the story reductive. Perhaps as the production continues to tour it will settle, but currently it feels lacking in heart and impact.

Frankenstein is at Richmond Theatre until 23 November, then touring

Photo Credit: Tommy Ga-Ken Wan

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