Frankenstein is one of the quintessential novels in the modern canon. Speaking of belonging and relationships within humanity, the novel has always resonated strongly with audiences and has enduring relevance in the modern-day climate where the threat of AI looms large and fringe voices on certain corners of the internet in areas such as ‘inceldom’ have gained particular notoriety. With the novel composed in an epistolary form, it translates quite naturally to the stage, which has formed the basis for Shake & Stir Theatre Co’s national touring production which hit the Theatre Royal stage this week. 

The first and most striking element of the play is its reliance on video screens, designed by Craig Wilkinson, in addition to the action on screen to fully immerse the audience in the world of the play. This use of ‘cine-theatre’ has all the hallmarks of the genre, which has been popularised in Australia by Sydney Theatre Company’s outgoing Artistic Director Kip Williams through his gothic trilogy led by The Picture of Dorian Gray.

The play is advertised by director Nick Skubij as a ‘faithful’ rendition of Shelley’s original novel and the use of technology to amplify meaning within the production, without allowing the play to drag unnecessarily. Josh McIntosh’s set is bold and ambitious and the combination with the technology allows for a hyper-stimulating audience experience which perfectly encapsulates the fear that Shelley’s words engender. It is one of the most impressive and immersive experiences that I have seen on a theatre stage and is a large part of the reason why this production is so special. The soundtrack, lighting and smoke effects further contribute to the grandiosity and the suspense of this experience. 

The second striking element of this play is the performance of Jeremiah Wray, who is breathtaking in his portrayal of Frankenstein’s creature. His movement as he learns to encounter the world around him is jaw-dropping in its execution and the balance between terror and yearning is well-conveyed by Wray. It is a masterful study in nuance and sensitivity. 

The third element of this play that is particularly striking is its enduring resonance. In large part, this is to do with the incredible use of technology already mentioned but Shelley’s words also resonate strongly in the context of increasingly fraught modern-day relationships and the dangers of AI becoming increasingly prevalent. It is incredible how a story from the early 1800s can remain so relevant in the present day. 

The pacing of the play is relatively strong however, the transformation of the monster feels a little rushed and some of the exposition at the start of the play drags out a touch too long. The acting of the ensemble is strong on the whole however, Darcy Brown’s interpretation of Victor Frankenstein is not perhaps as compelling as it could be, with the delivery a little insecure. It is also a shame that more attention is not given to some of the supporting characters, especially the family maid, who is framed by the monster and put to death. However, these are relatively trivial matters within the context of a play which is cohesive in its concept and generally sublime in its execution.  

Overall, this is a stunningly terrifying work which ticks every box that a modern-day adaptation of a classic should. It is bold and daring, especially in its manipulation of technology and the set and yet, it retains all the hallmarks that have made Shelley’s original work so beloved. The audience on opening night were clearly blown away as evidenced by the lengthy standing ovation received (and deservedly so). This is a play of the utmost technical brilliance and is worth seeing for such brilliance and the incredible acting skill of Jeremiah Wray. This is a truly outstanding work and a fantastic addition to this year’s theatre offerings in Sydney. 

Rating: ★★★★1/2

Frankenstein plays at the Theatre Royal until 13^th October. For more information, click here.

 All photo credits: Joel Devereux