BWW Reviews: Prog Metal Version of FRANKENSTEIN Debuts at Landless Theatre

I must admit that I approached Landless Theatre Company's latest venture, a world premiere production of Richard Campbell's Prog Metal Opera version of the familiar Frankenstein, with some trepidation. Thanks to the handy program notes and a few features I found online - perfect for a theatre geek like me who knows little to nothing of this genre - I learned that 'prog metal' is a genre of heavy metal that borrows from classical music to create complex arrangements of songs. I thought, "hmmm, theatre and heavy metal? That's pretty interesting." So, I decided to give it a go. Such ambition is deserving of attention.

To be clear, the term 'rock opera' has been tossed around in the musical theatre world in recent decades. There's of course Bare (particularly the version that preceded the latest Off-Broadway production) Tommy, and Rent, as well as those which are perhaps less familiar like Two Gentlemen of Verona. Campbell's Frankenstein is most definitely not a rock opera. It's more conceptual and music-driven than plot driven and there's not one song that sounds like something you'd hear on mainstream radio.

A slightly abridged telling of Mary Shelley's sad tale of the obsessed scientist gives structure and purpose to the highly conceptualized work. Yet, this production is focused less on what happens to Victor (Andrew Lloyd Baughman), his creation (Greg Bowen), his lover (Elizabeth, played here by Irene Jericho), and others who are deeply affected by the madness (Justine, played here by Devin Gaither, and Walton, played by Rob Bradley), but more on how each character feels as they become embroiled in the madness. Campbell's deeply emotional and intense music allows them to fully express their unbelievable situations.

Less successful, however, are Campbell and Carol Pestridge's simplistic lyrics. Ranging from pedestrian to downright laughable, they - to some extent - allow each character to basically explain what's happening and how they feel about it. One can only hear about the despair so many times in so many ways. A little more variety would have allowed them to edge ever so slightly in matching the complexity of the music.

Yet, despite the lyrical shortcomings I will say that most everyone involved delivers passionate performances. At the forefront is Andrew Lloyd Baughman who incidentally also serves as the vocal arranger and artistic director of the theatre company. One of the few to easily traverse the musical theatre worlds and the metal worlds, his rich and obviously trained voice is full of emotion at every moment and is perfectly fitting for tortured scientist Victor. Every moment he is on stage captures who Victor is and what he feels. It's a job well done.

As Victor's creation, Bowen captures the Creature's sadness and anger as he contorts his body while moving across the stage. His deep bass voice is passion-filled and one that I'd like to hear more of. One has to also give kudos to Bradley for his vocal tone and controlled 'screams' even if he lacks most any connection with his character and often veered off-pitch (at my performance) in the non-screaming moments. Extending one's arm up in the air over and over again to display anger while singing may work in a concert setting, but it's not quite conducive to letting the audience get to know a character.

While the ladies' vocals were often overpowered by the exceptional band at my performance - particularly Gaither's - they prove to be solid actresses capable of taking on the roles of the unsuspecting women who got into the Creature's path. Jericho's trained soprano voice ranges from being technically on point to going a bit off the rails at the performance I witnessed, but I appreciate that she is less of a simpering ingénue and more of a powerful woman in her characterization.

Director Melissa Baughman makes good use of minimal production values, including Jared Davis' functional but hardly innovative set, to immerse the audience into Frankenstein's wacky and intense world. Although I found the shadow puppet designs to be a bit overkill at times - and sometimes sloppier than I would have liked to see - they do well to establish time and space. The gothic and slightly punk-inspired costumes (Elizabeth D. Reeves) and the flashy lighting design (Carey Rausch) are perfectly suited to this production which is not quite musical theatre, but not quite heavy metal concert either. They bring in the best of both worlds.

If you need only one reason to see the show, I give you two words. The band. Musical Director Jack Sossman (rhythm guitar, theremin, and synthesizer), Charles Johnson (piano), Lance Larue (drums), Ray Shaw (bass), and Alex Vallejo (lead guitar) are exceptional musicians and excel at giving a 'metal' vibe to the show. Energetic, passionate, and technically talented, they're worth seeing.

Even if there are some missteps, I give Baughman and company applause for the ambition alone and daring to do something a bit different.

Running Time: 70 minutes with no intermission. Frankenstein plays through June 30, 2013 at Gala Hispanic Theatre at Tivoli (3333 14 Street, NW in Washington, DC). Tickets can be purchased online or, as available, at the door.

Photo Credit: Jack Sossman (Baughman and Bowen pictured)

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