Frankenstein

Brooks comedy comes ‘Alive!’ at ATI

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By John Lyle Belden

One of the cool perks of being Associate Artistic Director of Actors Theatre of Indiana for Darrin Murrell is that he gets to direct the incredibly fun musical, “Mel Brooks’ Young Frankenstein,” adapted by Brooks from his classic comedy film with Thomas Meehan. All songs are also by Brooks, except for the famous scene with Irving Berlin’s “Puttin’ on the Ritz.”

Murrell was overjoyed to have Ben Asaykwee in the title role, as well as Craig Underwood as the Monster, both adept at the necessary physical comedy. Asaykwee’s resemblance to Gene Wilder from the movie is less an impersonation than a reminder that both seem to have been touched by the same muse, hilariously delivering bluster, intelligence, and mischief, capable of being simultaneously the romantic lead and a slapstick clown.

One doesn’t have to have seen the film to follow this show, or have more than a rudimentary knowledge of the Frankenstein legend (Brooks’ approach was more a tribute to Universal Pictures monsters than the Mary Shelley novel). Movie fans will recognize many scenes and characters, though.

Professor of brain science Frederick Frankenstein (Asaykwee) – pronounced “fronk-en-steen” – discovers he has inherited his infamous grandfather’s castle in Transylvania. He goes there to settle his estate, met at the train station by servant Igor (John Vessels, Jr.), an odd man with a migrating back hump who has hired an eager young assistant, Inga (Sophie Jones), for his new master. At the castle, we meet horse-frighteningly eccentric housekeeper Frau Blucher (Julie Lyn Barber). Finding the laboratory and his grandfather’s notes, Frederick insists he won’t repeat any abominable and dangerous experiments – until, of course, he finds the right body and brain.

Meanwhile, there is concern in the village that a new Dr. Frankenstein is in residence. Inspector Kemp (Eric Olson), whose previous encounter with a reanimated creature literally cost him an arm and a leg, is determined to keep such events from happening again.

Frederick’s fashion-forward fiancé Elizabeth (Megan Arrington-Marks) will also arrive, just as hijinks get into high gear. 

As in the film, the Monster (Underwood) stumbles upon a Hermit (Adam B. Shapiro) who is blind and lonely, but he does get a song.

Other roles are covered by James Garrett Hill, Drew Kempin, JoBeth Hilton, Hannah Boswell and Natalie Fischer, with Emily Chrzanowski on hand as understudy.

Few frights, but a lot of laughs and double-entendres in Brooks’ bawdy style, with a few asides taking aim at popular monster-movie tropes. This being a “horror” show with song and dance numbers, indulging in silliness fits the milieu perfectly.

Vessels has fun with his character, delivering a nice homage to the late Marty Feldman with a bit of his own flair. Olson, well disguised by Kemp’s facial hair and costume, embodies the character perfectly for maximum comic effect. Jones’s Inga is winsome as the sidekick who is always smarter than she lets on, caring enough to let distracted Frederick catch up to her true affections. Barber nicely menaces and deadpans as Blucher, contrasted with the wild emoting over her “boyfriend.”  Arrington-Marks gives the full measure of self-obsessed Elizabeth, as well as her change of heart.

Even when dangerous, Underwood as the Monster doesn’t come across as monstrous – just a big guy (with Abbie Normal’s brain) very confused at waking up from the dead. Also, fire bad.

Nathan Perry is musical director; choreography is by Carol Worcel; and Kevin Casey is stage manager. The castle scenic design is by Jay Ganz (note the gargoyles), with props designed by Christian Condra.

Performances of “Young Frankenstein” run through Nov. 9 in the intimate confines of The Studio Theater at the Allied Solutions Center for the Performing Arts in downtown Carmel. For info and tickets, go to atistage.org or thecenterpresents.org.

IRT gives life to the monster, and the woman who created him

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By Wendy Carson

While all of us are familiar with Mary Shelley’s story, “Frankenstein,” in one way or another, none of us truly know her full intentions in bringing the tale to life. The Indiana Repertory Theatre’s current production of the drama adapted by David Catlin strives to shed light on suppositions scholars have given over the years as to Shelley’s various metaphors and allusions within the text.

The play opens on the fateful night in 1816 when Mary Godwin (not quite Shelley yet, played by Rebecca Marie Hurd), Percy Shelley (Ty Fanning), Lord Byron (Nate Santana), Dr. Polidori (Terry Bell), and Claire Clairmont (Andrea San Miguel) gathered on a stormy night in Switzerland, engaged in a competition of storytelling. While hesitant as first, Percy’s condescension of a mere woman’s abilities causes Mary to join (and ultimately win) their little game.

As she begins to weave her story, the group joins in acting out the narrative. This brings about a more light-hearted feel to the tale but does not detract in the slightest from the horrors held within. It also brings about a glimpse into exactly what was happening in the historical context that influenced some of the prose.

Hurd is sheer perfection as our titular heroine and tale-spinner, showing the depth of the woman behind the monster. She also brings forth the heart-wrenching feelings of love and struggle of Elizabeth, Doctor Frankenstein’s adopted “more than” sister and betrothed.

Fanning brings Percy Shelley’s failed attempts at dominance to life while also reminding us of his vulnerability and desires. He perfectly embodies Victor Frankenstein’s obsessive delusions and selfishness that ultimately lead to his own downfall.

San Miguel avidly encompasses the characters thrown at her (often quite literally) with a gamely attitude while never betraying that she is almost a footnote in the whole event. She channels Frankenstein’s Mother’s love and devotion beautifully.

Bell shows the true gentleman of Polidori, defending Mary’s rights and fighting off the testosterone-laden nay-sayers (again, sometimes literally) who seek to squelch its continuance. His turn as Henry, Frankenstein’s best friend, befits his caring nature. He also plays the ship’s captain who bookends the narrative.

Santana emulates the rakish self-importance with overwhelming charisma that Byron was known for. He also does an amazing job as the Creature, showing us the frustrated loneliness felt by one who suffers in vain to understand why everyone reviles him.

In director Risa Brainin’s notes on the show, she hints at the question that is often asked upon experiencing the story, “Who is the true monster here?” Go to the IRT and decide for yourself.

“Mary Shelley’s ‘Frankenstein’” runs through October 14 on the main stage at 140 W. Washington St., downtown Indianapolis. Get info and tickets at irtlive.com.

Epilogue brings monster tale to life with radio magic

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By John Lyle Belden

When dealing with a familiar favorite story, the best part is in how it’s told.

In “Frankenstein: The Radio Play,” presented by Epilogue Players, Mary Shelley’s classic novel is presented as a radio drama produced in 1940s London – an escape from the horrors of the real world. Adapted by Philip Grecian from his stage play, based on Shelley’s 1818 book, the production gives us a theatre of the mind experience while providing a glimpse into how the audio magic is made.

The immersive experience goes a step further by not renaming the actors as British counterparts, and by including radio ads promoting every advertiser in the program. This may be the best promotion English Ivy’s restaurant and bar (in today’s Indianapolis, just down the street) has ever gotten.

Craig Kemp (actually from the U.K., by the way) voices the titular figure, Victor Frankenstein – whom any literature buff will note is the true “monster” of the novel – in fine fashion, from the soothing doctor in love to the ecstatic “it’s ALIVE!” during the creature’s “birth.” Other actors provide major and minor parts (the broadcast audience can’t see them, so switching is a manner of inflection, which they easily do). Principally, Alex Bast is the doctor’s friend and assistant, Henry Clerval; Dale W. Smith is their peer, Professor Waldman; Caity Withers, the studio announcer and producer, is Baroness Frankenstein; Phoebe Aldridge is young Catherine Frankenstein; Melody Simms is Catherine’s governess, Justine Moritz; Bella King is Victor’s cousin and fiancé, Elizabeth Frankenstein; Grant Bowen is Arctic explorer Capt. Robert Walton, as well as the blind man, Delacey; and Jason Creighton is The Creature (usually referred to by epithets, by himself as Adam/Lucifer, but never as his “father’s” name), giving an appropriately powerful rendition of the misunderstood beast.

Also deserving of star billing are foley artists Amanda Greene, Roger E. Dutcher, Karen Markle, and Zach Thompson, who undertake complex effects with as close as the era allowed to surround-sound. Seeing the various gadgets used only adds to the fun while their acoustical accuracy doesn’t break their spell. Daniel Watson directs and composed some of the music, performed by Bethany Watson on piano.

Glancing over the novel’s plot summary as well as various films from James Whale to Kenneth Branagh and variations including breakfast cereal and Abbot & Costello, I probably should make some notes of the story here. This play does start and end on Cpt. Walton’s ship approaching the North Pole. Henry sounds quite handsome, with no hunchback noted, and is a fellow scientist, not a servant. Also, a critical plot point, the brain supplied to the creature is that of a genius Victor admires (not “Abbie Normal”), which becomes evident at the Adam’s clarity after his initial mental fog, making his reasoned impulses for revenge more menacing. Finally, there is no postmodern wink or sight-gags among the English cast; this show is played for chills, not laughs.

Performances run through Feb. 26. Space is limited at the little theatre on Hedback Corner, 1849 N. Alabama St., and tickets are selling fast. Get yours at EpiloguePlayers.com.   

IndyFringe: ‘Mary and Her Monsters’

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This show is part of the 14th Annual Indianapolis Theatre Fringe Festival, a/k/a IndyFringe, Aug. 16-26, 2018 on Mass Ave downtown. Info, etc., at www.IndyFringe.org.

By Wendy Carson

You know that Mary Shelley wrote “Frankenstein,” but do you know who she actually was — and what her life was like — to inspire her to give us this story?

Lou Ann Homan stretches her storytelling chops to give us the naïve innocence that led Mary to her destiny.

Mary was far too innocent and star-struck by Percy Shelley to realize how he was manipulating her. She honestly believed he loved her but overlooked the multiple instances of his infidelity and cruelty to her and her children. Even though she strove to be a writer, and fought to learn more of science, medicine and other things considered “not for girls,” she was constantly foiled by her circumstances.

Still, she persevered — that really is the message here. She fought and kept trying until she finally made a success. While the publishing of her novel did not change her circumstance in any way, it still made her feel complete.

Come hear the story behind the legend and discover the truth of what is wrapped in that silk cloth lovingly placed on her desk.

“Mary and Her Monsters” is presented by Homan at the Firehouse union hall, 748 Mass Ave.

 

Civic’s puttin’ on a hit

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NOTE: As the Word/Eagle is in flux with the renaming and corresponding change in official website, John is putting his reviews here — for now.

By John Lyle Belden

For a more-silly-than-spooky Halloween crowd-pleaser, you can’t go wrong with “Young Frankenstein,” presented by the Booth Tarkington Civic Theatre through Nov. 5 at The Center for the Performing Arts in downtown Carmel.

In this Mel Brooks musical, based on the Mel Brooks movie (inspired by the Mary Shelley novel), Frederick Frankenstein (played by Steve Kruze), grandson of the infamous mad doctor – who has changed the pronunciation of his surname in a vain attempt to shake its infamy – must go to his grandfather’s castle in the generically central/eastern European town of Transylvania Heights to settle the estate.

Once there, Frederick meets family servant Igor (Damon Clevenger), who has rounded up a lovely lab assistant, Inga (Devan Mathias). At the castle, they are welcomed by Frau Blucher (Vickie Cornelius Phipps), who was more than a housekeeper to the elder Frankenstein – a case in which a single line from the film became a whole song in the musical.

The temptation to follow in the family business becomes too great, and Frederick makes a Monster (B.J. Bovin) despite the village having passed a law against such practices, inviting the ire of local police Inspector Kemp (Parrish Williams). Add a surprise visit by Frederick’s fiancé Elizabeth (Nathalie Cruz) and a lot of mayhem – and song-and-dance numbers – ensue.

This production goes all-out on the famous “Puttin’ on the Ritz” singing Monster scene, a great credit to the cast and choreographer Anne Nicole Beck. And Williams doubles as the blind Hermit in another famously funny scene.

No one can match the manic genius of Gene Wilder, but Kruze manages to make the title role his own. Cruz and Phipps are natural scene-stealers, and Mathias is a treat. Bovin makes the most of the limited motions of the Monster, and his often-confused expressions add to the comedic effect. But the show doesn’t work without a great Igor (pronounced “Eye-gor”), and Clevenger is pitch-perfect in the role. It’s a credit to the others that he doesn’t steal the whole show.

Brooks’ gags still zing and his Tony-nominated monster of a musical still entertains. Get info and tickets at civictheatre.org.

John L. Belden is Associate Editor at The Eagle (formerly The Word), the central-Indiana based Midwest LGBTQ news source.

So much more than the sum of its parts

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NOTE: As the Word/Eagle is in flux with the renaming and corresponding change in official website, John is putting his reviews here — for now.

By John Lyle Belden

The Khaos Company Theatre production of “Frankenstein,” adapted from the Mary Shelley novel by Indiana playwright Lot Turner, demands patience of the viewer.

It seems a bit wordy in the beginning, a flood of exposition as Victor Frankenstein (James Crawley) makes his confession to the sea captain (James McNulty) who has found him near the Arctic Circle. But the pace becomes more manageable as the story continues. Perhaps it was because I saw the play on opening night, but I saw Crawley get more comfortable in Victor’s skin as the evening wore on.

I was surprised to find that Sarah Johnson was in her first stage role as Justine, Frankenstein’s beautiful assistant – a petty thief who repays Victor’s kindness by plying her trade in graveyards. Johnson is natural and compelling in her complex role. There are no hunchbacks in this story; instead we get the tension between Justine’s genuine affection for Victor and his engagement to his bitter cousin Elizabeth (Linda Grant).

Jason Neuman is excellent as The Creature. His patchwork man speaks – and remembers, deepening the tragedy. Also notable is Bridget Isakson as Frankenstein’s mother, who never forgave Victor for surviving a childhood accident while her other son died.

The drama concludes with an interesting twist, a thought-provoking alternative ending to Shelley’s original fable.

I must also praise Johnson’s makeup effects and the KCT crew’s inventive creation of Victor’s laboratory machinery.

For the wary and budget-crunched, know that Friday, Oct. 28, is pay-what-you-want admission. Final curtain is Saturday, Oct. 29; performances are at the KCT stage, 3125 E. 10th St., Indianapolis. Info and tickets at kctindy.com.

John L. Belden is Associate Editor at The Eagle (formerly The Word), the central-Indiana based Midwest LGBTQ news source.