Belgrade Theatre, Coventry, Thursday 3rd October, 2019
Rona Munro’s new stage adaptation of the novel that gave birth to the genre of science fiction puts its author, Mary Shelley at the centre of the action. Tightly wound, spirited and full of youthful vigour, Mary is bursting with creativity as, before our very eyes, she rights the book that will render her immortal. She narrates, breaks the fourth wall, and even collaborates with her characters as she starts and stops the story – we, of course, know how it will turn out, but it’s an effective and stylish way to present events we have seen portrayed time and time again.
As Mary, Eilidh Loan is a dynamic stage presence, hugely entertaining, wry and knowing, transmitting Mary’s passion to get her story written. Her characters, seemingly under her control, are played by a strong ensemble: Ben Castle-Gibb is excellent as the driven Victor Frankenstein, showing his descent into obsession and insanity with great power; Thierry Mabonga is strong in three different roles, the salty Captain Walton, young William Frankenstein, and Victor’s best mate Henry; Greg Powrie brings authority to his roles as Victor’s father, and Waldman the doctor who recruits Victor as his assistant. Natali McCleary brings vulnerability and strength to Elizabeth, but it is Michael Moreland as the ‘Monster’ who captivates our attention, from the jerky movements that bring him to life, to his augmented voice.
Becky Minto’s wintry set is striking and functional, giving two levels and a range of possibilities; her costume designs are elegantly tailored to denote the period. Simon Slater’s discordant music and eerie sound design add to the tension, while Grant Anderson’s lighting bathes the action in cold beauty. Director Patricia Benecke makes sparing use of shadowplay and mist for atmosphere and effect, and on the whole, this is a gripping and inventive retelling. Oddly though, very little sympathy is elicited for the Monster – the script allows him no opportunity to show his potential for goodness. We only see him as a killer, an angry reject of society, and that’s a shame. It’s like he was built with a bit missing.
This production is a fresh take on the well-worn tale, in which Mary Shelley has a message for us today, for our government in particular, above and beyond the usual don’t-dabble-with-nature theme. She says, “If you neglect those you are supposed to care for, the weak, the poor, their destruction will be your shame.” The play goes to some length to bring out Shelley’s revolutionary politics. Right on!