Review by Grace Swadling
“Life, although it may only be an accumulation of anguish, is dear to me, and I will defend it.”
So says Frankenstein’s monster…but who is the monster and who is the man? That is the question that has been captivating audiences of Mary Shelley’s ‘Frankenstein’ for centuries. Directed by Nick Skubij and adapted by Nelle Lee, Shake and Stir’s production of ‘Frankenstein’ at the Theatre Royal Sydney brings the examination of this question back to life (pardon the pun) in a new large-scale, multimedia iteration that is both a powerful reminder of humanity and a spectacle for the sights.
Victor Frankenstein, a grieving but brilliantly ambitious young scientist, pushes the boundaries of theory and morality to create a living being from the remains of the dead. But playing God has its consequences…Shunned by society and plagued by an inherited sense of confusion and rage, Victor’s miracle of science becomes a monster that threatens to destroy everything his creator holds dear.
From the get-go, this production leaned into Shelley’s original Gothic horror aesthetic, with ethereal, billowing smoke filling the stage as the audiences took their seats. The opening scene was a powerful, visual moment that completely set the tone and scale of this production. Designer Josh McIntosh has combined huge realistic set pieces with an impressive use of modern technology; digital backdrop across multiple screens which take the audiences through different settings and are used intermittently to show the psychological havoc wrecked on Victor.
Darcy Brown’s hand-wringing, chronically vexed Doctor Victor Frankenstein was the perfect portrayal for this production, bringing occasional moments of levity to an otherwise despairing character. Jeremiah Wray was outstanding in his portrayal of ‘the Creature’, capturing both the desperate pathos and the innate anger of a creature who did not ask to be created but who is shunned for what he was created to be. The moment the creature was brought to life was a confronting, sensory shock, quickly followed by an impressive movement piece of ‘the Creature’ learning to walk. Wray’s physicality and commitment to this made for a deeply moving moment and credit must be given to Wray and Movement & Fight Director Nigel Poulton.
Chloe Zuel as Elizabeth brought vulnerability and poise to the one character who shows kindness and empathy towards the creature. Her unwavering strength in Act 2 was lovely to watch although it was sadly to no avail, in one of the most well-executed and powerful moments of the production. Rounding out the cast was Anne Lise Phillips, Tony Cogin and Nick James, who all rose to the challenge of a variety of roles and accents. At times it did seem like the cavernous set was in danger of over-shadowing the relatively small cast. To stage something of this scale in a space like Theatre Royal Sydney and to have only five actors did seem an interesting choice; however the cross-casting and doubling of characters made for a intimate, almost claustrophobic look at the consequences of Victor’s actions, especially as ‘the Creature’ begins exacting revenge on those closest to him.
This production is both an immersive and cinematic experience, which is visually very impressive. Every production element seamlessly worked together to create the world of ‘Frankenstein’ - from Guy Webster’s evocative sound design to Trent Suidgeest’s shadowy and dramatic lighting design. There were a couple of mic/audio issues which are to be expected on opening night; however these did nothing to detract from the other incredible special effects, including pyrotechnics, a revolving stage, a lot of stage smoke and, at one point, the hull of a ship rising up from the darkness.
The fact that this story continues to be relevant in our modern society, particularly with the rise of AI, means that we are continually forced to reckon with our own concepts of humanity and empathy, and the consequences of being the ‘creators’. Bringing in multimedia in such a way to this production brings it more into the modern world without forgoing any of the integrity of the crux of Shelley’s tale. This production highlights the new possibilities for theatre by incorporating technological aspects that allow the audience to be completely transported back to the 18th century. But beware...‘Frankenstein’ has a strictly limited season in Sydney, so if you want to go along for the journey, you better get in quick.
Image Supplied
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