(Photo credit: Joe Sinnott)
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, as some of
the scary elements are depicted. This thrilling New York City
premiere of Mr. Hannam’s philosophical, occasionally
mirthful text is presented by the Queens-based City Gate
Productions, 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.
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
contributes 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
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