Every so often the Classic Thriller people come up with a play that could easily stand alone, Thriller Season or not – think Gaslight or Strangers on a Train. Frankenstein is just such a play.
Adapted from the novel by Tim Kelly and revised by Nicholas Briggs, who also directs, this is a major departure. It isn't simply different from your routine Durbridge: it falls into a distinct genre altogether.
On Victor Frankenstein's wedding night he starts to tell his bride why he's not been himself lately. The tale of the creation of the Creature, the ensuing deaths, the attempt to make another (female) monster to be a helpmeet for the first one: almost the entire unfolding tragedy is told in flashback.
Without being pure melodrama, this is highly melodramatic and unashamedly gothic, the tragedy of a man carried away by his own hubris. It's also, of course, science fiction. And there's a splash of black humour as well: when Victor Frankenstein and old chum Henry pop out to collect some fresh body parts from their friendly neighbourhood morgue Victor's mother thinks the lads have gone shopping.
There are some terrific moments: the opening scene when Victor Frankenstein addresses the audience, the scene where Justine, a Gypsy girl (Sarah Wynne Kordas in a fine performance) pleads her innocence of murder as Frankenstein looks deep into her eyes before she's dragged off to await execution.
Samuel Clemens's Frankenstein, with his classical delivery of his lines and measured pace, is a super central performance; and Jeremy Lloyd Thomas as, at last, a non-villain, Hessler, the Inspector General of Police, is excellent. Andrew Dickens's Creature at first doesn't seem sufficiently lumbering, but that's the influence of all those Hammery films. This Creature is sensitive and entirely worthy of our sympathy.
Definitely one to see.
Alan Geary EVENING POST / THIS IS NOTTINGHAM
Gothic horror a real chiller
The third play in Nottingham Theatre Royal’s classic thriller season is Mary Shelley’s Frankenstein, adapted by Tim Kelly — on until Saturday — and it certainly sent a chill down my spine.
The gothic horror has been revised and directed by Nicholas Briggs, and contains lots of atmospheric and dramatic music. The set is breathtaking too.
Samuel Clemens is Victor Frankenstein, the young scientist consumed with guilt for creating a creature so horrid and angry that he has already killed.
Eventually Victor confesses all to his scientist friend, Henry, played with gusto by Chris Sheridan. He thinks it is a miracle and tries to help him.
It is nice to see Andrew Dickens return to the company, although almost unrecognisable, as The Creature. He plays him well with slow speech and movement but with a strong grip.
Jo Castleton bustles about as Victor’s muse, Elizabeth, as does Karen Henson as Victor’s mother, and Susan Earnshaw as housekeeper Ernst.
Jeremy Lloyd Thomas looks good in his uniform as Ernst, the Inspector General of Police, as does Al Naed as a police officer. Sarah Wynne Kordas makes a brief appearance as gipsy girl Justine. A gripping yarn well brought to life — DAB. NEWARK ADVERTISER
Adapted from the novel by Tim Kelly and revised by Nicholas Briggs, who also directs, this is a major departure. It isn't simply different from your routine Durbridge: it falls into a distinct genre altogether.
On Victor Frankenstein's wedding night he starts to tell his bride why he's not been himself lately. The tale of the creation of the Creature, the ensuing deaths, the attempt to make another (female) monster to be a helpmeet for the first one: almost the entire unfolding tragedy is told in flashback.
Without being pure melodrama, this is highly melodramatic and unashamedly gothic, the tragedy of a man carried away by his own hubris. It's also, of course, science fiction. And there's a splash of black humour as well: when Victor Frankenstein and old chum Henry pop out to collect some fresh body parts from their friendly neighbourhood morgue Victor's mother thinks the lads have gone shopping.
There are some terrific moments: the opening scene when Victor Frankenstein addresses the audience, the scene where Justine, a Gypsy girl (Sarah Wynne Kordas in a fine performance) pleads her innocence of murder as Frankenstein looks deep into her eyes before she's dragged off to await execution.
Samuel Clemens's Frankenstein, with his classical delivery of his lines and measured pace, is a super central performance; and Jeremy Lloyd Thomas as, at last, a non-villain, Hessler, the Inspector General of Police, is excellent. Andrew Dickens's Creature at first doesn't seem sufficiently lumbering, but that's the influence of all those Hammery films. This Creature is sensitive and entirely worthy of our sympathy.
Definitely one to see.
Alan Geary EVENING POST / THIS IS NOTTINGHAM
Gothic horror a real chiller
The third play in Nottingham Theatre Royal’s classic thriller season is Mary Shelley’s Frankenstein, adapted by Tim Kelly — on until Saturday — and it certainly sent a chill down my spine.
The gothic horror has been revised and directed by Nicholas Briggs, and contains lots of atmospheric and dramatic music. The set is breathtaking too.
Samuel Clemens is Victor Frankenstein, the young scientist consumed with guilt for creating a creature so horrid and angry that he has already killed.
Eventually Victor confesses all to his scientist friend, Henry, played with gusto by Chris Sheridan. He thinks it is a miracle and tries to help him.
It is nice to see Andrew Dickens return to the company, although almost unrecognisable, as The Creature. He plays him well with slow speech and movement but with a strong grip.
Jo Castleton bustles about as Victor’s muse, Elizabeth, as does Karen Henson as Victor’s mother, and Susan Earnshaw as housekeeper Ernst.
Jeremy Lloyd Thomas looks good in his uniform as Ernst, the Inspector General of Police, as does Al Naed as a police officer. Sarah Wynne Kordas makes a brief appearance as gipsy girl Justine. A gripping yarn well brought to life — DAB. NEWARK ADVERTISER