‘Frankenstein’: A monster of a play

The stellar all-Australian production of Frankenstein is playing now in a limited run at the Theatre Royal.

Based closely on Mary Shelley’s 1818 book, the story has lost nothing thematically in the ensuing years, and this production by Brisbane-based company Shake and Stir brings it firmly into the 21st century with sharp story telling and state-of-the-art production values.

The story of scientist Dr Victor Frankenstein and The Creature, his lab creation of life, is well known through the many film versions, which now total over 80, with the most famous being James Whales’ 1931 version starring Boris Karloff as The Creature.

As early as 1823 stage versions have been mounted and this production will rightly be remembered as one of the landmark productions.

This production opens with a ship on an Arctic expedition discovering Frankenstein before it is trapped in the ice. The captain befriends Frankenstein, who relates to his story, which then unfolds as the play.

Giant LED screens (video designer Craig Wilkinson) provide the backdrops for the many scenes to follow, with skillful video transitions used to show the changing of time, place and and seasons.

One scene set in a woodland cabin stands out when the stage setting suddenly switches to the viewpoint of its blind occupant.

The staging is aided by the extensive use of trucks and multiple revolves, all executed with exquisite timing.

Pyrotechnics also play a large role in the staging, and are most effective when Creature sets fire to the forest home of a family who unwittingly have helped him to learn to speak.

Lighting from Trent Suidgeest is striking, particularly in the early scene with Creatures where stark whites work with the constant supply of stage fog.

The hero scene from the poster where Creature carries off Frankenstein is also striking and moving.

Music from Claude Debussy and Erik Satie set the mood and is also used effectively for emphasis and is complemented by Guy Webster’s sound design.

Director Nick Skubji (Shake and Stir) handles this large-scale production and the performances with a commanding ease.

Darcy Brown is equally charming as the student and suitor to Elizabeth and devastatingly repulsive as he descends into madness and hubris as he attempts to bring his experiment to life.

As the Creature, Jeremiah Wade has a large arc to handle, from his writhing contortions as he comes to life through to his powerful speech appealing to Victor, as his creator, to take responsibility.

With the voice of reason and the only one to emphasise with Creature, even as he is trying to kill her on her wedding night, is Chloe Zuel, as Victor’s new bride Elizabeth.

Tony Gogin, Nick James and Anna Lise Phillips make up the impressive ensemble playing multiple roles and many accents.

Frankenstein is a big play with strong performances that are not overshadowed by impressive staging and a story packed with warnings for a modern world.

Frankenstein
Until October 13
Theatre Royal, Sydney
https://www.theatreroyalsydney.com/events/season-2024/frankenstein/