BWW Reviews: FRANKENSTEIN'S American Premiere Creates Philosophical Drama at Off the Wall Theatre

Man and Sensibilities. Machines and Sciene. Milwaukee's Off the Wall Theatre presents an American premiere of an intellectual Frankenstein based on Mary Shelley's 1818 novel iin lieu of the more popular horror monsters the novel's name frequently invokes. The company's Artistic Director Dale Gutzman imported an adaptation by Nick Dear that premiered at London's National Theatre and focuses on the dilemma of creating 'the spark of human life" overlaid with ideas from John MIlton's "Paradise Lost." Themes that Shelly intertwined into her original novel, often considered to be one of the first examples of science fiction.

In Dear's adaptation, "the creature" Victor Frankenstein breathes life into through the latest scientific technology at the time, electricity and magnetism, exhibits the curiosity and willingness to learn with the soul of an actual man. A creature, although considered hideous, capable of extraordinary intellectual feats when taught by a blind man unable to view his physical features. When his blind friend promises the creature his son and wife will accept him as he is, the couple eventually turns against him, also considering the creature a monster, so he extracts revenge, killing all three.

Eventually, this "science experiment,' this distorted version of human man, discovers the creator who abandoned him, Victor Frankenstein in Switzerland. Here the creature pleads with Victor to fashion him a bride, someone to accept and love him, as the creature sees everyone else in the world enjoy this pleasure, because as he says, "the fire of love burns in his heart." The creature hopes this love will counteract what he has observed and then assimilated when watching the human race, when he sadlys says, "I learned to hate, debase and humiliate."

Love for this creature and his bride would create the paradise he longs for, away from the cultures who consider him a monster, what he calls a place "even when the apple had been eaten" in a reference to the Garden of Eden, which suggests that harmony and peace outside the garden or paradise, rarely exists. for man or monsters. In Shelley's novel, and this production, Victor Frankenstein and his creation go awry, and both realize neither soul knows very much about love, or what being a creator, a master, similar to a divine God might be. This envelops the human races's infinite struggle between God and Man, faith and science, and how is humanity expected to respond to either in an age of increasing scientific advances that challenge a spirtual dimension in the world and human's lives.

Once again, Gutzman transforms a small stage into an arena for grand ideas. A production that straddles philosophical concepts relating to the 21st century, where man continually becomes attached to technology used in isolation while losing intimate human relationships and searching for love, that divine spark to a creative life and community.

Jeremy C Welter births a believable "creature" who in the opening scene crawls on stage, like the snake, a metaphor for the devil, which society thinks this monster really is. Here the creature first struggles to uncover his strength and purpose without help from his creator Frankenstein, the man responsible for his existence. At the end of the evening, this creature becomes the intellectual and physical master instead of the slave,the created, a role Welter adapts and changes to with accomplished ease.

An expansive and supportive cast includes Nathan Danzer playing the tortured Victor Frankenstein, while Marann Curtis gives the beautiful Elizabeth, Victor's fiancé, pluck and passion. Only Elizabeth takes pity and befriends the creature who returns on the couple's wedding night to revenge the loss of his own bride that Victor also creates, but then destroys out of fear for what he believes is the creatures inability to know love.

A translucent white curtain surrounds a sparse stage as a back drop in tandem with Michelangelo's "spark of life" and Adam and Eve murals on the walls, which replicates the paintings from Rome's Sistine Chapel. Where the drawings reinforce the themes from MIlton's "Paradise Lost," a picture of a defiled Garden of Eden, and recalls the story man has ruined a perfect creation and world when rejecting a divine creator, relating to what Shelly inferred in her novel.

While smoke and lighting effects designed by David Roper add mystical touches to the production, Off the Wall's intriguing and powerful Frankenstein forces an audience to confront these timeless modern ideals. Ideals seducing humans to believe they might play as a God reinventing medical and scientific technology with an ability to give and take life. More importantly, this dramatic Frankenstein reminds the audience despite society's contemporary achievements, in medicine or technology, how do any of these futuristic discoveries accomplish humanity's oft forgotten basic and essential need to be loved for one's unique self?

Off the Wall Theatre presents Frankenstein at 127 East Wells Street through November 23. For tickets or further information on their production Valley of the Dolls beginning December 31, with two performances, please call 414.464.3874 or visit offthewalltheatre.com.

To post a comment, you must register and login.