Frankenstein
by Tim Kelly, adapted from Mary Shelley’s novel
Directed by: Kevin Bowers
Production Dates: 19th- 21st September 2024
Location: Durley Memorial Hall
PHOTOS
CREATING THE CREATURE!
PRESS RELEASE
We are thrilled to announce that our next performance is ‘Frankenstein’, an adaptation of the Mary Shelley classic!
Victor Frankenstein, a brilliant young scientist, returns to his Swiss château to escape a terrible pursuer. No one can shake free the dark secret that terrifies him: not his mother, nor his fiancé, nor his best friend. Even the pleading of a gypsy girl accused of murdering Victor’s younger brother falls on deaf ears, for Victor has brought into being a creature made from pieces of the dead!
Directed by Kevin Bowers and featuring a terrific cast, performances are in Durley Memorial Hall from Thursday 19th to Saturday 21st September 2024 at 7.30 (doors open 7pm). Tickets are £12 (£8 under-18s) and are available to purchase via www.bishopstokeplayers.uk/buy-tickets (no booking fee) or via our ticket line 07871 006551 or email boxoffice@bishopstokeplayers.uk
Please note: this play contains multiple frightening scenes, including murder and violent deaths. We do not recommend it as suitable for children under the age of 12
REVIEWS
Scene One Plus
https://sceneoneplus.com/frankenstein/
Bishopstoke Players
Durley Memorial Hall, Durley
Anne Waggott
19 September 2024
Gifted yet troubled scientist Victor Frankenstein triumphantly brings to life a creature of his own design, patched together from exhumed body parts. However, elation at his greatest achievement is soon replaced by abject terror as his deeply flawed, aesthetically hideous creation is shunned by both Victor and society, with tragic consequences.
There can be very few people who haven’t heard of Mary Shelley’s gothic horror novel Frankenstein, although many continue to mistake Frankenstein’s creation as the eponymous protagonist rather than the creator himself. While Tim Kelly’s adapted stage play aims to explore themes of obsession, isolation, and the consequences of playing God, it’s impossible for this short, abridged play to examine the complexities of these ideas in depth. However, Kelly’s version does embrace the core essence of Shelley’s tale, culminating in an unsettling reflection on humanity and the potentially devasting effects of unbridled scientific pursuit.
On a compact village hall stage, with minimal budget for special effects or sophisticated lighting facilities, the strength of performances becomes even more important than they might otherwise be. The beauty of Bishopstoke Players is the way they nurture new and youthful talent alongside the mature performances of more experienced actors – and Frankenstein is no exception.
Owen Pugh delivers a strong performance as Victor Frankenstein, in turn tormented, haunted and obsessed by his other-worldly creation, while Colin Carter brings an imposing, at times sympathetic, yet also menacing air to Frankenstein’s Creature. Both play off each other very well indeed as they raise the questions of what does it mean to be human – and who is the more monstrous? The patchwork Creature, horrifically inhuman and yet also wretchedly human, yearning for companionship, affection and a sense of belonging; or the almost possessed scientist, arrogantly challenging the laws of nature, who created him in the first place? You would have to be extremely hard-hearted not to be moved at all by the Creature’s pain, rejected and abandoned by society because of the way he looks, with his resulting desperation, revenge and sorrow.
Kimberley Jones is convincing as Frankenstein’s concerned and anxious mother, while Tim Ponsford brings urgency and gravitas to the role of Inspector Ernst. The youthful quartet of Beth Bowers (Frankenstein’s scientist friend, Harriett), Lizzie Sellars (his fiancée/bride, Lizzie), Molly Smith (his housekeeper, Sophie) and Ella Cannavo (wrongly convicted gypsy girl, Justine) all hold their own amongst the more established actors and prove that the future of Bishopstoke Players lies in very good hands.
Kevin Bower’s direction has ensured a decent pace, excellent diction and projection from the entire cast, and a good combination of youth and experience. Barry Kitchen (Lighting) and Sam Marsh (Sound) have designed effective atmospheric lighting and sound effects, making the most of the limited resources available to them; I especially appreciated the attention to detail, timing and changing volume of sound effects as the patio doors were opened and closed. The set and costumes are evocative of the turn of the 20th Century, completing the overall presentation.
On opening night, there were a few rough edges (such as lights coming up a little too soon as cast or crew exited and a missed gunshot sound effect, while greater dynamics in pace would have given the production an extra lift), but this was a compelling production that deserves to be seen.