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| Connor Toms, Jim Hamerlinck (shadowed) in Frankenstein (photo by Chris Bennion) |
Frankenstein or The Modern Prometheus
through March 9
We have taken a ghost story by a remarkable 18-year-old
woman, written in the early 1800s, and stretched it all over the place by now,
with movies of various sorts and
successes, all the way up to the over-the-top hysteria of Young Frankenstein.
The novel has sparked inspiration and adulteration and a classic
"creature" that is known the world over, though often the creature is
named Frankenstein, which is incorrect.
David Quicksall has adapted and directed the current
theatrical production of Frankenstein for Book-It Repertory Theatre. As is
Book-It's mission, he has gone back to the book and what we see on stage is
crucially not a horror story, with blood and gore, though there is some of
that. It is a distillation of a novel of unfettered ambition, passion without
boundaries, and a cautionary tale of where human endeavor should fear to tread.
The adaptation has much to recommend it: a talented cast, as
usual, headed by an intense and focused Connor Toms as Frankenstein, a young
man who describes his folly in pursuing his passion for chemistry through
forming and animating a quasi-human being. He tells his tale to a ship's
captain (played with gravitas and enormous patience by Frank Lawler) after
being rescued improbably in the waters of the Artic Sea.
The fluid set design by Andrea Bryn Bush, of many curtains
billowing in stage breezes, a dim and evocative lighting scheme by Andrew D.
Smith, eerie and cataclysmic sound and some terrific original music by Nathan
Wade, and precise costuming by Jocelyne Fowler, provide great atmospheric
support.
The cautionary tale is of a young man’s passion for science,
an obsession with discovery, and some very unlikely science fiction. In some
ways, the holes in the story become more obvious, and the leaps of logic more
difficult for an audience member to make. But it certainly is a ripping good
tale.
Frankenstein gives life to a creature and is so horrified by
what he has done that he rejects the creature, leaves him completely to death
or uncertain life, and tries to forget all about him. The creature (improbably –
here is one of those leaps you just have to accept) not only finds a way to
live, but also learns English and how to read, all by himself, and then finds a
way to find his creator, Frankenstein. The creature, in retribution, then
murders everyone who is important to Frankenstein.
The creature’s longing for human contact is pretty palpable,
but however much ardor Jim Hamerlinck displays as the creature, and it’s
considerable, the director created a certain emotional distance from the audience that fails to stimulate our empathy to the degree that could be accomplished. Partly because some of the creature’s story is told by
voice-over.
I continue to wish that theaters help their
playwrights/adapters by giving them top-notch directors who can team to bring
out the best of each quality. Book-It is somewhat unfortunately wedded to a
concept that the adapter is the best one to direct a production. I disagree with
this and think they would have great synergy of energy if they allowed teams of
two to create their productions. There were particular moments that a different
director might have improved. Quicksall is both a great adapter and a solid
director. Just better one at a time, in, as they say, my humble opinion.