Based on the classic novel by Mary Shelley, originally written by 1818, Tilted Wig’s production of Frankenstein is set in 1943, providing a more modern twist on the novel. Victoria (rather than Victor) Frankenstein creates ‘The Creature,’ after setting her sights on creating life, with help from Francine, her friend/laboratory assistant. ‘The Creature,’ (i.e. Frankenstein’s Monster) is constructed from parts of both human and animal bodies, haphazardly put together as part of her experiment. Victoria then must deal with the consequences throughout the show, following 'The Creature's' escape from her laboratory.
Whilst the show does provide a twist on the Mary Shelley book, it is more of a classic, route one, telling of the show compared to other productions of Frankenstein. However, it does this remarkably well, whilst balancing the new context of this production. Although, some elements take it into the 21st century, such as Victor being Victoria and questions around her sexuality (whether Victoria liked women or men) being asked, which feels refreshing to see in a production based on a novel published in 1818.
The cast was outstanding, providing very intense performances needed for this show. Emily-Jane McNeill played the fantastic mad scientist, often going between wanting to advance science and then realising the consequences of her actions, portraying emotions so well at both extremes of her character. Whether she was manic or scared or curious, it was portrayed so intensely that you could feel a shift in the air. A stand-out performance was from Andy Cresswell who played 'The Creature,' who made his appearance momentarily in the first act. Throughout the second act, he had the audience hold their breath, never knowing truly what 'The Creature' was going to do next.
The set design (Nicky Bunch) was simple but cleverly used. The stage went from being in a small hut in the middle of nowhere on a cold, snowy night to Victoria’s workshop, full of body parts and scientific equipment, atop a hill. Victoria’s laboratory took up most of the stage, making good use of the space at Hull Truck, with the smaller hut set at the beginning and end of the show quickly being whisked away or becoming elements of her workshop. The use of lighting (Jason Addison) and music (Eamonn O'Dwyer) was incredible, adding to the tense atmosphere in the auditorium (including often the use of low light and no music to build tension too). The use of lighting at the side of the stage ensured the huge shadow of “The Creature” was cast on the side of the auditorium, making him feel even bigger and putting the audience more on edge with the character's unpredictability.
While the show was set in 1943, there were only a few remarks about the war, which may have been a lost opportunity. Especially when the director (Seán Aydon) pointed out they wanted to highlight two elements (the ethics surrounding scientific progress and the idea of perfection), it would have been good if they could have put these into the context in which it is set. The context of 1943 was not mentioned all that often, to the point that the production could have been set in 1943 or equally in 2024 (with a few costume tweaks) and wouldn’t have fundamentally changed the production. However, the role of Francine, expertly played by Brianne Surgeoner, acts as a conscience in parts of the show, reminding Frankenstein of the world she lives in, full of ignorance and discrimination due to her disability. Whilst in these impassioned speeches, ideas of the eugenics movement and the advancement of scientific knowledge are alluded to, it is a shame that this wasn’t always present throughout the whole of the production.
Overall, the production is simple but effective, which allows the stellar cast and their storytelling abilities to take the lead on the classic tale. Overall, it’s a great watch, perfect for a spooky season!
Frankenstein runs at the Hull Truck Theatre until 26th October. For tickets and more information, you can follow the link here.
⭐️⭐️⭐️⭐️ (4*)
Gifted tickets in return for an honest review | photography by Robling Photography
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