Frankenstein

By: Darryl Reilly

“Why must it end for us when our eyes close and the coffin gets lowered into the ground?” So, ruminates melancholic Victor Frankenstein who is desolate after his mother’s death in playwright Vincent S. Hannam’s new, taut and faithful stage adaptation of Mary Shelley’s classic 1818 novel, Frankenstein: or, The Modern Prometheus. Prop rats are dissected, graves are robbed, the dead are brought back to life via electricity, and a ship precariously sails toward the North Pole, are some of the scary elements depicted. This thrilling New York City premiere of Mr. Hannam’s philosophical, occasionally mirthful text is presented by the Queens-based City Gate Productions, and is performed at the quaint Secret Theatre in Woodside.

The tall, athletic, and youthful Tyler Fewin is outstanding as The Monster. The ferocious and sensuous Mr. Fewin initially grunts, groans and snorts with resonant poignancy, he later markedly speaks in aching tenor tones. This vocal achievement is matched by expert visual accoutrements, accentuating Fewin’s dazzling performance which is burnished by his flaring eyes. Master make-up artist Caitlyn Piccirillo adorns his expressive face with artful gray shades, scars, and red lips; his brown hair is close-cropped and slicked back. He is strikingly clad in costume designer Grace Wylie’s pleated gray pin-striped trousers, a flowing dark overcoat, and a light gray shirt showcasing his sinewy physique. Ms. Wylie’s witty 19th century period-style garments also gorgeously represent the other characters as well. Any version of Frankenstein is dependent on its Monster; this one has the titanic Fewin, who is facilitated by Brian Beloff’s vivid concept design.

The animated and smooth-voiced Austin Hust majestically combines mania, romanticism and emotion, as the passionate Victor Frankenstein. Fiery and feisty Juliet Wolfe is ideal as his articulate love interest. With old-time repertory company acting flair, the dynamic Jack Tavcar gleefully enacts his roles of a stalwart police inspector and as Victor’s weary father. Daniel Wolfe Mitnik is towering as the old blind man benevolently interacting with The Monster at his house in the woods; this sequence is a first act highlight. Jennifer Kim is delightfully wily as the old man’s protective daughter. Allison Fletcher and Michaela Tramuta each offer lively characterizations of the ship’s captain and a crew member.

The Monster’s creation here of course is not as elaborate as that of in James Whale’s iconic 1931 movie but it is cleverly and bracingly rendered. Sounds of crashing lightening sharply realized by sound designer Dylan Franz accompany the cranking of a yesteryear apparatus, adjacent strands of Christmas tree-style lights blaze and twinkle as he is brought to life. Em Stripling’s mesmerizingly murky and varying lighting design contribute greatly to the production’s success; arresting blackouts punctuate scene transitions.

The stage is strategically set sparingly with vintage pieces including tables, a bookcase and a long wooden crate, allowing the actions to swiftly switch locales by stimulating our imagination. That a couple of actors put on simple Venetian masks conjures the belief of a grand ball taking place, is a testament to scenic designer and director Jorden Charley-Whatley’s consummate picturesque physical staging. Through focused pacing, entrancing tableaus and bold stage pictures, Mr. Charley-Whatley’s wizardry achieves an epic theatrical dimension. Fight choreographer Travis Youssef and fight captain Allison Fletcher’s efforts result in riveting instances of physical violence. At the performance under review, the presentation was masterfully overseen by stage manager Sarah Jack.

This rousing incarnation of Frankenstein abounds in excitement, fright and contemplativeness.

Frankenstein (through October 27, 2024)
City Gate Productions
The Secret Theatre 38-02 61st Street, in Woodside, Queens
For ticket, visit www.citygateproductions.org
Running time: one hour and 40 minutes including one intermission