This production perceptively translates Shelly’s classic Gothic tale into an intriguing exploration of futuristic science fiction, however something was lost in the process.
Experimental theatre company Imitating The Dog have transformed the Oxford Playhouse stage into an immediately striking fusion of theatre and technology, the perfect backdrop for modern Gothic retellings. Haley Grindle’s set features huge LED strip lanterns hanging precariously from the flies by thick wire and a stage littered with industrial metal structures and clinical looking cabinets, instantly transporting us into a pointedly modern setting. The company’s trademark use of projection and digital theatre was instantly apparent in the large cyclorama backdrop, onto which thunderstorms and cell mutations alike played out in huge breathtaking imagery. The cabinets too were adorned with screens on one side, which depicted disembodied limbs, foetuses and colourful chemical reactions throughout the performance.
The production opens in media res, with a couple receiving the results of a pregnancy test, very quickly asking us to believe their sci-fi visual feast is nothing more than a domestic bedroom. Georgia-Mae Myers and Nedum Okonyia perform naturalistically, conversing through sharp, angered dialogue, a tone which remained almost monotonously through the rest of the play, particularly in Okonyia’s case. Here, we learn that their pregnancy was unplanned, establishing the company’s modern reimagining of Frankenstien’s themes of creation, destruction and parenthood. Before long, the dialogue fades and is replaced by unusual physical theatre, crafting the two actors’ bodies into one monstrous giant shape. While visually interesting, the use of physical theatre was perhaps unnecessary alongside an already disorientating, unexpected narrative and highly abstract set. It often did not develop the plot or our understanding of the relationship between characters, instead only serving the wider thematic concerns of humanity’s ability to craft monstrous creatures.
Before long, the original Frankenstein narrative was woven in as the couple listened to a radio drama version of it, yet this linking detail was easy to miss amongst the busy stage. A real highlight of the production was when the original text was faithfully narrated in a pre-recorded voiceover while the actors moved the set into powerful stage pictures of boats and mountain ranges against brilliant digital artwork. The sections of text were judiciously selected, always remaining in conversation with their modernised second narrative. Here, their use of physical theatre became an asset, as the images heightened the storytelling, however it would have been even more powerful if restricted to those moments only.
The two actors multi-roled as Victor Frankenstien, his assistant Walter and the monster. Here, their acting became more heightened, however it was difficult to distinguish between the two worlds of the play at points and some knowledge of the original text was definitely required in order to work out who they were. As the narrative progressed, I enjoyed how a couple grappling with the responsibilities of bringing new life into the world complemented the story of Victor doing the same. Yet, they also incorporated a sub-plot of the couple watching a homeless man sidelined by society, which felt unclearly portrayed and a forced, over-obvious parallel of Frankenstien’s monster as a societal outcast. Because of this busy, overlapping narrative, the emotional journey of each character felt underdeveloped and I was not invested in their struggles. Furthermore, their exploration of abortion, which had the potential to powerfully thrust debates within Frankenstein into the modern day, felt tentative. For a company who pride themselves on taking risks, I was hoping for more than I received in the play’s second act, and felt the play’s end seemed to contradict their message.
This adaptation deserves merit for not becoming another all-too-familiar regurgitation of classic literature, and its unique ideas alongside a creative production style certainly makes me curious to follow the Company’s other work. However, clear narrative structure and emotionally engaging characters were sacrificed for their experimental stance. When discussing with other audience members, it became clear that lovers of the original novel felt slightly betrayed, while those unfamiliar with the text left feeling confused.