BritishTheatre

搜索

自 1999年

值得信赖的新闻与评论

二十五

英国戏剧精选

官方
门票

选择
您的座位

自 1999年

25年

官方戏票

选择座位

REVIEW: Frankenstein, Wilton's Music Hall ✭✭✭✭

发布日期

2017年3月17日

markludmon

Frankenstein

Wilton's Music Hall

16 March 2017

4 Stars

Book Now

In the National Theatre's acclaimed 2011 production of Frankenstein, Benedict Cumberbatch and Jonny Lee Miller famously alternated the roles of Dr Frankenstein and the Creature throughout the run, emphasising the similarities between the two apparently opposing characters. This doubling, which can be found throughout Mary Shelley's original gothic novel, is taken a step further in Tristan Bernays' adaptation of the book, casting just one actor to play both roles.

Skilfully distilling the core narrative, the play shifts much of the focus onto the Creature, opening on the moment of his creation in Dr Victor Frankenstein's laboratory and following his clumsy and terrified development from a rejected child-like innocent hiding in the woods to a man with intellect and a need for companionship. For anyone unfamiliar with the original story, the show reminds us that the iconic monster was not the lumbering brute created by Boris Karloff in the 1930s but an intellectual, fully conscious being who has read Plutarch, Milton and Goethe - albeit one with a shocking, horrific appearance. Like the book, the play explores how much the Creature acts like a monster not by nature but because of the way he is treated by his "father" and the rest of the world.

Despite his baby-faced good looks, George Fletcher embodies the Creature with sinuous movement and anguished expression with no need for extra make-up. With brief switches to Victor when the Creature finally meets his maker, this young actor - only just graduated from the Royal Welsh College of Music & Drama - gives a bravura performance that grips the audience for the 70-minute running time. He is supported by Rowena Lennon who plays roles such as Victor's fiancée Elizabeth as well as enhancing the sound effects and staging. It is tautly directed by Eleanor Rhode alongside movement director Tom Jackson Greaves. With only a handful of props such as a mirror and bare lamp bulbs, the stage has been atmospherically lit by Lawrence T Doyle with an expressive soundscape designed by David Gregory.

Originally performed at The Watermill Theatre near Newbury, it has found a fitting home in the magnificent 19th-century faded splendour of Wilton's Music Hall in Whitechapel. Although there is no news on further outings for the production, keep an eye out for this formidable creation.

Running to March 18, 2017.

BOOK TICKETS FOR FRANKENSTEIN

BritishTheatre.com 网站的创建旨在庆祝英国丰富多样的戏剧文化。我们的使命是提供最新的英国剧院新闻伦敦西区评论,以及地方剧院伦敦戏剧票的见解,确保戏剧爱好者可以及时了解从最盛大的伦敦西区音乐剧到前沿的边缘戏剧的一切。我们热衷于鼓励和培养各种形式的表演艺术。

戏剧的精神生生不息,而BritishTheatre.com位于前沿地带,向戏剧爱好者提供及时、权威的新闻和信息。我们敬业的剧院记者评论家团队不懈努力,报道每一场制作和活动,使您能够轻松获取最新评论并预订必看的伦敦戏剧票

剧院新闻

票务

剧院新闻

票务