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Aydon's adaptation works really well in placing the story within this degenerating world, a place where true horror is around the corner, and veiled ideas of their (Germany's) interest in Frankenstein's work are gently developed. However, while Aydon clearly had this idea in his head and his pen when scripting this version, the political ideas do not bog down or muddy Mary Shelley's original story and are brought to the stage with respect.
At its core, from design to performance, this Frankenstein is still very much the Shelley version, albeit, Aydon gender swopping Victor Frankenstein to Victoria. However, this matters not as in the role Emily-Jane McNeill is excellent, powerful and dominant, and without any question the Frankenstein we know from our past encounters. Indeed her delivery and performance of the role reminds you of one of the classics, that of Peter Cushing.
As The Creature, Andy Cresswell is superb, able to bring physicality to the role and the development of life itself to the stage. There is truly some powerful stuff here from the right and wrong of his existence and to the levels of evil within. Aydon's Frankenstein really does challenge the audience as to who is the true evil between The Creature and his creator as neither comes out well from the story.
Further support in the cast comes from Lydia Whitehead's lively and charming Elizabeth, Tawana Dingembira's jocular Henry and finally, Basienka's brusk pairing of the Captain and later the inquisitive and sinister Richter.
Stephen Moynihan as movement director has worked well with Cresswell on the incredibly effective motion of The Creature from his early birth onto his later development, where his movement improves as does his intellect. Also impressive is some excellent stage combat brought to the performance by fight director Kaitlin Howard, including one brilliant dispatching of a character at the hands of The Creature.
Nicely atmospheric lighting comes from Jason Addison, which barring some slight first-night issues brings an air of mystery to the scenes, particularly during the storm. Eamonn O'Dwyer also provides some brilliant music to the show, both subtle, hardly audible and then crashingly loud at the dramatic moments.
Frankenstein is at times a slow story, especially early on in the shack, with some carefully placed pauses and silences building the brooding atmosphere. However, at its heart, Aydon's adaptation gradually becomes an absorbing and atmospheric evening at the theatre.
A creepy, quality, reimaging of a classic.
⭐⭐⭐⭐
