Particular creatures lurk within The Fredericton Playhouse waiting to be greeted by eager audiences in need of a fright. However, it appears the monsters that swarm, though some do creep under the skin, may cause distraction to an otherwise rightfully disturbing journey.
Frankenstein, The Man Who Become God, performed by Theatre New Brunswick, is a full-length adaptation by Alden Nowlan and Walter Learning of the classic novel Frankenstein by Mary Shelley. The story follows the Doctor Victor Frankenstein and his quest for knowledge that ultimately leads him to the creation of a human-like creature and the repercussions that come from experimenting with human life.
It is the first of Theatre New Brunswick’s Mainstage productions for the 2014-2015 season and showcases the strength of a well-established theatre troupe.
Upon viewing the Saturday matinee, immediate praise should be given to the construction of the set and soundscape by Michael Eagan and Michael Doherty, respectively. It demonstrates the dedication to the reality of the script in terms of environment and era.
Incorporating augmented perspectives and a stylized color palette, each piece of Eagan’s elaborate set that is unveiled is a visual treat that matches the foreboding tone of this production precisely. Occasionally, this set does appear a bit unstable, but no destruction beyond a fallen cane halts this performance.
Doherty’s auditory tags jars the spectator with soundscapes dispersed with racing heartbeats, voiceover and ominous, lengthy bass lines that cast nerves into the audience. This element allowed each scene to transition so effortlessly without dropping the ever-important tension this show needs to truly live. Conversely, it also adds the needed punch, or perhaps “crunch” as the character Elizabeth faces in the third act, to moments that really will cause one to gasp.
Director Caleb Marshall has a clear understanding of the way Nowlan and Learning’s script is to be told, incorporating a sense of tranquility that sparks the tension with the introduction of Frankenstein’s monster. Marshall relies on building tension, with such instances as the deceiving reveal of Victor’s lightbulb experiment, which plays on anyone’s previous knowledge of this story, bringing new perspective to a classic tale.
The cast, for the most part, is as dedicated to the text and fulfilling the emotional devotion to their characters this thought-provoking play deserves. Featuring standout performances by such players like Andrew Jackson, the chaotic yet sympathetic Creature, and Michael Holmes-Lauder, the trustworthy and sincere Fritz, deliver a performance level that one hopes for in such a turbulent universe.
However, whether it was due to the matinee, the energy of some performers, such as Meredith Zwicker (Elizabeth) and Ted Atherton (Victor Frankenstein), dwindled in certain scenes. This is not to say they never prove themselves strong actors in moments, but their embodiment of the characters feels limited in comparison to some actors which truly breathed and sustained their intent.
Ultimately, this production of Nowlan and Learning’s Frankenstein is a creation that lives in a wonderfully realized world. Although it may catch a few snags when being stitched together, it creates quite a tantalizing beast.
