There is something about a live performance being free that makes it that much more enjoyable to watch. The National Theatre has been courteous enough in these last few months to provide shows online with no cost to theatre fans. So to those who’ve dreamed of seeing a show in London where theatre is practically a religion, the possibility now exists to anyone who doesn’t wish to leave the house. Frankenstein was produced and staged at the Royal National Theatre back in 2011, but having missed it live is of no consequence now that it’s available to view presently. A computer or smart TV is all that’s required.
Frankenstein was produced and staged at the Royal National Theatre back in 2011, but having missed it live is of no consequence now that it’s available to view presently.
Nick Dear adapts Mary Shelley’s novel for the stage in a creative undertaking that possibly blows any film adaptation out of the water. Dear’s variation of the play is much darker than the original book. In this staged version the tale is also told primarily through the viewpoint of ‘the Creature’, beginning with his birth. The intelligent Victor Frankenstein creates his monster. Initially proud to know his work is a success, Frankenstein becomes frightened by his creation, thus escaping the scene and leaving the Creature alone. As the Creature gains function of his motor skills and his mind begins to develop thanks to the family of whom he’s taken in by, he desires to meet his maker with the further desire of seeing Frankenstein create him a wife.
This play is a paragon of artistry. Danny Boyle, most famous for his films, directs this piece with leads Benedict Cumberbatch and Johnny Lee Miller switching roles between the Creature and Victor Frankenstein during the run. At the time this gave audiences to see virtually two separate interpretations of both characters, a presentation not often afforded to audiences during a single run. Cumberbatch’s role as the Creature is the show focused on here, with Cumberbatch putting on a physically demanding performance that is exhausting even just for the human eye to witness. The cast is fairly substantial in size, but it’s Cumberbatch who is the primary one to watch. His physical development of the Creature along with his evolution of the character’s cognitive ability was clearly a challenge, yet one that he faces unhindered. The rest of the show is elevated by the impeccably accomplished set design, lighting and stage effects, period specific costumes, superlative makeup particularly for that of the Creature, and the direction/blocking of Danny Boyle.
Boyle demonstrates that he’s just as efficient at staging plays as he is at directing first class films. Cumberbatch is at his best, though this shouldn’t surprise anyone. Enough cannot be said for the National Theatre either in their choice to finance the play at a level granting it a ‘grade A’ standard for the stage. However, talk is cheap. So if none this has been convincing enough to sway anyone, be sure to see the play online before it’s no longer available. It is currently on YouTube for free, but as usual, donations are welcome.
