By VERONIQUE DUPREY
A Seat on the Aisle
I had the pleasure of attending opening night of the first production of Indiana Repertory Theatre’s 51st season, Mary Shelley’s Frankenstein, adapted by David Catlin.
Though most everyone knows the classic tale of the man and his creation, this adaptation tells the tale through a story-within-a-story lens, from a night when Mary Shelley (then Godwin) comes up with the story in response to a dare, shared among her soon-to-be husband, Percy Byshe Shelley, her step-sister Claire, and friends Lord Byron and Dr. Polidori, as they are gathered in a villa in Switzerland. All are eager to participate in enacting the story as it is being breathed into existence – a clever second level of creation which we witness.
Ty Fanning as Victor Frankenstein. (Photo by Zach Rosing)
As always from IRT, the set and period costumes are a delight to behold, from the minds of Carey Wong and Devon Painter. Additional stage features set the eerie mood quite cleverly, thanks to designs by Melanie Chen Cole (sound – plus some original music), Michael Klaers (lights), and Miko Simmons (projections). Director Risa Brainin has flawlessly executed a wonderful vision for this show.
The small cast is nothing short of phenomenal, taking on the roles of the famous friends as well as the characters in the Frankenstein story – stepping in and out of one or the other at the drop of a hat – or a cape, as the case may be. The storytelling technique is fascinating, as a character may wonder aloud at this plotline, or that decision, and a discussion may ensue showing that the author’s story is much more personal than at first glance. Do not be concerned, however; the “workshopping” is minimal and the story flows quite nicely.
Rebecca Marie Hurd strikes perfect notes as a fierce author, a woman yearning, grieving, and loving, an ingenue, and mother figure, in an all-encompassing role.
Ty Fanning starts out as a rather pompous Shelley but shows us real growth in this single evening, while his Victor Frankenstein, in the pursuit of creating life, misses much of life itself, and we feel his pain in the end. I wish the script had given us the chance to understand better why he abruptly decides to reject his creature; it seems a bit superficial, as if it was simply … un-pretty.
(From left) Rebecca Marie Hurd as Mary Godwin, Andrea San Miguel as Claire Clairmont, and Nate Santana as Lord Byron. (Photo by Zach Rosing)
Nate Santana is perfectly adequate in the persona of Lord Byron, but is truly exceptional as The Creature. Discovering life as a fully grown “man,” he shows us how each new emotion is learned, and how the pain of being rejected affects him; he becomes, indeed, more human than his creator. The only flaw I could see was that he was not monstrous enough to warrant the reactions of horror from everyone else.
Andrea San Miguel, who was delightful as the French maid in last season’s Clue, handles a myriad of roles with aplomb and great comedic timing. I hope she continues to return to the IRT.
Finally, Terry Bell gives us several versions of a sweet and kind friend, and would that we all had such a friend, or better yet, could be such a friend.
Bottom line: You may think you know the story of Frankenstein, but this is a refreshing take with a fantastic cast, which offers two stories for the price of one! This thoughtful drama, touching the important question of what is one’s responsibility to one’s creation, is not to be missed. Highly recommended.
Frankenstein runs through Oct. 14 – perfect fare for spooky season. Ticket information is available at irtlive.com or by calling (317) 635-5252.
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