Frankenstein is one of the first sci-fi stories ever written and the subject of many horror films. Indeed, the subject is truly horrific and the story is well known therefore the interest must necessarily lie in how it is framed, Sean Aydon’s adaptation and direction does this by setting the production between the Wars, thus the importance of Eugenics and Racial purity are highlighted and add a new and terrifying dimension.

By Angie Millard

Photos by Ant Robling

The original male doctor becomes Victoria Frankenstein bringing a contemporary significance to the role of scientist and her journey of discovery. Ethical dilemmas and the power of science and technology to lead modern thinking are paramount.

The Monster is played with strong physicality by Cameron Robertson who steers the path between revulsion and pity skilfully. His voice and intonation breathe life into a character who is a complex study of identity, creation and humanity.

Basienka Blake plays two contrasting characters; the Captain and Reichter. Interestingly, they represent oppressor and oppressed and she tackles each with intelligent interpretation. Her portrayal of Reichter, a scientist of ‘The Final solution’, is chillingly resolute and threatening, while as the captain she offers refuge to Frankenstein.

The cast is diverse in skin colour and body shape and Annette Hannah, Frankenstein’s assistant is a tough representative of dwarfism. She has been rescued from the street and educated but Dr Reich, a visiting representative of the political regime her name signifies, refuses to even acknowledge her existence and shows us that differences cannot be tolerated. Frankenstein’s partner is Henry, played by Dale Mathurin, who is another scientist and a man of colour. Frankenstein’s beautiful adopted sister, Lula Marsh, completes the trio as a contrast to the drabness of the scientific world. All of these actors are a strong foil to the inhumanity which the play reveals.

But what of the dramatic effect of the production?

The set designed by Nicky Bunch is a laboratory which gives historical and practical background avoiding the overblown images of gaseous test tubes and unreal equipment beloved of early cinematic versions of the story.

Lighting, sound and makeup are of huge importance in a play of this kind and are fully explored by Matt Haskins in his exciting Lighting design and Eamonn O’Dwyer in his innovative sound scape. Missy Brazier creates a vision with makeup, wig and prosthetics which manages to capture both the monstrous and human aspects of Frankenstein’s creation. 

The pace of the piece however needs some careful editing. The first part lacks tension and interest wanes as we watch the progress of the experiment of which we know the result. The climax of the first half sees Frankenstein’s monster spring into life and we are finally gratified, but what should a playwright do next? Earlier film versions have focused on the fear and revulsion generated by the monster’s physical appearance and thrilled the audience. Sean Aydon takes us into a much darker territory. When the monster she has created calls Frankenstein ‘Mother’, we can’t avoid the message.

Tilted Wig have devised a sombre vision by deconstructing the old tale. I admired their work but left the theatre feeling deeply depressed.

Frankenstein is a Tilted Wig production playing at York Theatre Royal from 24 to 28 October 2023