The Stratford Theatre Review: Frankenstein Revived

By Ross

A large circle of light takes over the back wall with a vengeance, highlighting a darkly clad woman in a full-length period dress rising up as if lifted by her own legendary Elements. She is, in fact, the famous author, Mary Shelley, played hypnotically by the actor Laura Condlln (Shaw’s Casey and Diana), leading us through the unpacking of her Frankenstein. The billowing of her gown, courtesy of the fine work done by costume designer Dana Osborne (Stratford’s Chicago), emphasizes the sway she has in the room, and the high Romantic idealism that takes over Stratford’s Avon Theatre. From the moment this intellectual study of movement and art brilliantly combine to unpack the tale of its Romantic hero, or anti-hero, the story is hers to tell, yet in Morris Panych’s dynamic and powerful rendition, purposefully called Frankenstein Revived, the words she once used to tell the story of the doomed scientist who dared to wrestle with Death and the unknown, has been taken away from her, and it is only through the framework of all those magnificent contoured bodies in motion that the story we know and love unwraps itself before us. Wordlessly.

A trap door center-stage opens, and the bedeviled story rises up and crawls out, ready and able to contort itself in shadows and light spectacularly and monstrously. Created with exacting elegance and sharply defined formulations by creator and director Panych (Stratford’s Wanderlust), Frankenstein Revived expands the limits of the known theatre world, filling in the spaces that are usually held by the spoken word, with unfathomable movement so well defined that the poetry we associate with Shelley and her brooding literary masterpiece somehow feel unneeded, and actually unwanted. The electric motions of the exceptional black-clad Elements (listed below) flow through their muscular frames with an unspoken force, thanks to movement choreographer Wendy Gorling (Stratford’s Moby Dick) and dance choreographer Stephen Cota (Grand’s Mary Poppins), populating the space with their energy and sharp focus. It’s almost too captivating to take in, as these forms sensually and powerfully flow in with such elegance and determination.

Biting into the apple of knowledge with a dark curiosity, the fantastically powerful Dr. Frankenstein, embodied most handsomely and hypnotically by Charlie Gallant (Stratford’s Richard II), rises up from the fog and ushers forth this emotionally exuberant piece of theatre and movement. He’s stunningly sensual in his madness and manners, forever guided by the presence of the tumultuous morality of Mary Shelley, portrayed solidly by the quill-holding Laura Condlln (Stratford’s Casey and Diana). Like the woman herself, who had an insatiable desire to question the origins of our life force, the piece is daring and provocative. She stands above and just beyond with an unmistakable force, leading us all through the dark spaces like a magician, designed impeccably by set designer Ken MacDonald (Soulpepper’s Parfumierie), and lit most gorgeously by lighting designer Kimberly Purtell (Stratford’s Hamlet) with a strong finely composed sound design by Jake Rodriguez (ACT’s Fefu and Her Friends) unpacking the compelling music by David Coulter (The Black Rider).

The story unfolds hypnotically, as we watch the doctor ride the rotating train of knowledge through the landscape of long-held scientific beliefs and assumptions concerning the power of God, the natural force of life, and the unknown limits of the human mind. The drama unfolds with precision and an expertise that astounds, even when the sometimes thoughtful, sometimes overwrought set pieces, symbolizing nerve systems as trees feel a tad clunky rolling in and rolling out from the wings. I entered hesitantly, wondering if the story would captivate without the use of the spoken word, but as the blood majestically flows down from the heavens into the body of The Creature, embodied by the powerful Marcus Nance (Broadway’s Jesus Christ Superstar), brought to life through the currents of electricity. Unlike the horrified Doctor, who recoils and hides at first from his self-created monster, the story rises up fascinatingly, much like the slowly evolving monster, making us lean in with awe and take surprising notice of the tale revived.

Frankenstein Revived climbs mountains with those intricately arranged bodies as obstacles, dynamically racing forward with torches aggressively ignited in search of what the townsfolk all fear. The second act feels less precise, but more complex in its storytelling ideals as the moving tale travels forth powerfully to the beautiful bitter end ever so forcibly like a black-and-white graphic novel lifting itself up from the page. The boundless story is told almost obsessively, dramatically bounding over the limits of what we know of the gothic tale and the desired framework with ballet-like precision – huge kudos to the Elements, who really move and shape the piece magnificently at every turn and junction. Shelley holds tight to her glorious deadly monster, guiding the story with a grave studied interest as the Michelangelo fingers touch, igniting the whole theatre with its uncompromised spark of expansiveness and creativity. It’s a passionate piece of storytelling, climbing mountains of expectations with a worldless movement that astounds. Don’t hold back from engaging in this experience. Put down the novel (that I can’t wait to read for the first time), and get yourself to the Stratford Festival to see imagination and skill unbounded by preconceived notions come alive with force on that Avon Theatre stage. It really is something that must be seen and experienced. No words can really explain its monstrous beauty.

For more information and tickets, go to https://www.stratfordfestival.ca

The Elements: Eric Abel, Carla Bennett, Davon Michael Brown, Amanda De Freitas, Mateo G. Torres, Eddie Glen, McKinley Knuckle, Gracie Mack, Ayrin Mackie, Anthony MacPherson, Heather McGuigan, Kyla Musselman, Trevor Patt, Jason Sermonia.