Frankenstein
With the Hypocrites’ new retelling of the spooky classic Frankenstein, on stage for an extremely limited engagement at the Museum of Contemporary Art, all of the pieces seem to be there for an incredible creation: A talented and ambitious director (Sean Graney), a gifted cast (particularly veteran company member Stacy Stoltz), an intriguing, well-lit set and a unique staging that challenges the boundaries of more traditional theatrical arrangements.
But, as is the case with the monster central to this story’s plot, the pieces do not add up to an entirely successful whole. First off, this is another of Graney’s signature promenade-styled stagings, meaning that the audience is placed onstage a mere inches away from all the action. The style is engaging and interactive, allowing the audience to feel entwined in the plot and even put a little on edge.
Unfortunately, the contrived promenade style served as a deterrent to the action in this production, as the blocking failed to utilize the form as successfully as past Hypocrites shows like this spring’s Oedipus adaptation. With the exception of one scene, where the grotesque monster chases after his young lady prey, the potential for a high creep factor remains is mostly unrealized. In the end, many details of action (and dialogue) are lost as audience members try their best to remain in view and earshot.
The production also falls short with its dialogue, which creates a ideological collage that leaves the story in a timeless, placeless location. One moment, Mary Shelley lines are directly quoted in its style of early 19th Century antiquity, and the next, Dr. Frankenstein is offering his dear sister a bit of Easy Cheese. Another, a character is trembling in terror, the next they are cracking a strangely out-of-place joke. It simply doesn’t add up.
Finally, somehow this presentation of the monster, despite being surrounded in bloody, mangled dolls hanging from the ceiling and a generally ominous backdrop, doesn’t quite live up to the infamously terrifying legacy of the unpredictable creature. As Frankenstein’s creation, Matt Kahler has the lurch down, and certainly towers above most attendees, but his performance comes off more as a socially inept Dungeons and Dragons enthusiast than a dangerous killing machine.
Though the production doesn’t live up to the tale’s bloody history, there are redeeming qualities. As mentioned before, the eclectic set, designed by Tom Burch, deserves accolades for its eccentric rendering of Dr. Frankenstein’s playground. The integration of the 1931 film playing on a backdrop overhead, in addition to the many staticy television and other creepy cues, provide an excellent visual diversion from the wandering, overwhelming script.
And the acting from Stoltz, fellow ensemble member John Brynes (as Victor) and Jessie Fisher (as Strange Girl) is also quite strong. Brynes pours himself into the mad world of a doctor with high hopes and plenty of delusions and Fisher is a delightful, naively oversexed relief from the conflicting action and dialogue happening around her.
Criticism aside, Graney should be commended for what was clearly an effortful endeavor into the centuries-old tale. It is certainly not an easy task to breathe new life into such a classic, satisfying both devotees of the original and those who crave all-things-new. But in its attempts to satisfy the latter group of people, this show loses many of the basic elements of the monster that has captivated audiences for years in the name of modernity.
The Hypocrites’ Frankenstein continues its run at the Museum of Contemporary Art through Sunday, Nov. 1. Shows are Wed.-Sat. at 7:30 p.m. and Sun. at 3 and 7:30 p.m., plus special 10 p.m. shows Fri., Oct. 30 and Sat., Oct. 31. Tickets and more information available at www.mcachicago.org
