By David Greenham
The stage adaptation of Mary Shelley’s timeless novel proves its worth; this production captivates with its provocative themes, exceptional performances, and engaging storytelling.
Mary Shelley’s Frankenstein is penned by David Catlin, under the direction of Brian Isaac Phillips. The scenic design is by Sam Reno, while Rainy Edwards handles the costume design. Lighting is managed by Jeff Adelberg, Robert Carleton Simmel takes care of the projection design, and sound design is crafted by Zack Bennett. This production is a co-effort between Merrimack Repertory Theatre and Cincinnati Shakespeare Company, and it is currently gracing the stage at the Nancy L. Donahue Theatre at Liberty Hall, Lowell, through November 24.
Jay Wade in Mary Shelley’s Frankenstein. Photo: Mikki Schaffner
Bullied by her lover Percy Bysshe Shelley (John Patrick Hayden) and his witty companions, Lord Byron (Jay Wade) and Dr. John Polidori (Billy Chace), it seems plausible that Mary Shelley (Jasimine Bouldin) would shy away from contributing to a storytelling competition rife with misogyny, set up by these influential 19th-century literary giants. The four competitors, including Mary’s pregnant stepsister Claire Clairmont (Alexis Bronkovic), are sequestered in a lakefront cottage in Lake Geneva, Switzerland, during the fateful summer of 1816. The yarn-spinning contest kicks off with an electrifying atmosphere: Percy, dripping with sarcasm and arrogance, is certain that Mary’s artistic aspirations are futile, insisting she should abandon any hope of crafting a story. “You couldn’t think of a ghost story, Mary,” he condescends. Defiantly, she glares back and asserts, “buckle up your breeches, my love, I’m about to begin.”
The tale that 18-year-old Mary Shelley crafts about “a most hideous phantasm of fluid and flesh” would ultimately prove to be one of the most influential horror stories in literary history. Published in 1818, Frankenstein; or The Modern Prometheus remains one of the most widely adapted Gothic novels ever, inspiring countless films, theater productions, radio dramas, operas, and even television shows. Therefore, it is only natural to ponder the intent behind playwright David Catlin’s 2019 interpretation of this foundational tale. Is this journey back to the source still vital and resonant in today’s context?
The Merrimack Repertory Theatre production more than justifies its existence; it is beautifully acted, thoroughly engaging, and an absolute delight to experience!
The narrative journey swiftly transitions from the serene setting of Lake Geneva into the rich tapestry of Shelley’s original story, brilliantly conveyed through an epistolary format and shared by numerous narrators. Billy Chace embodies Captain Walton, the ambitious leader of a ship navigating treacherous Arctic waters in search of the elusive source of the Aurora Borealis. While on their quest, the crew witnesses a colossal figure on the icy expanse; soon after, they encounter the nearly lifeless but agitated Dr. Victor Frankenstein (Hayden). What initially appears to be a product of insanity triggers a poignant flashback to Victor’s formative years in Geneva.
John Patrick Hayden in Mary Shelley’s Frankenstein. Photo: Mikki Schaffner
Young Victor shares an unbreakable bond with his beloved mother, Caroline (Bronkovic). Following their marriage, Victor’s parents adopt Elizabeth Lavenza (Bouldin), the orphaned daughter of an Italian nobleman, leading to an expected romance between her and Victor. The pair is joined by Victor’s loyal childhood friend Henry Clerval (Chace). Tragedy strikes when Caroline gives birth to a son, Henry (Bronkovic), only to succumb shortly after to yellow fever. This profound loss catalyzes Victor’s relentless pursuit of forbidden knowledge, setting him on a path to discover ‘the elixir of life’ — the key to resurrecting the dead. Upon starting his studies at university, his ambition spirals into obsession, culminating in the birth of the Creature (Wade). Initially reveling in his groundbreaking achievement, Frankenstein soon realizes the dire consequences of his actions, declaring, “this knowledge must die with me.”
Catlin’s script artfully weaves together the intricate threads of this horrific tale while providing insight into the turbulent circumstances surrounding its conception. At the time she penned the novel, Mary, known then by her maiden name Godwin, was ensnared in a scandalous affair with the still-married Percy Bysshe Shelley. This tumultuous relationship was further complicated by the birth of their daughter Clara, who tragically arrived prematurely and passed away just twelve days later, leaving Mary engulfed in sorrow. At one point, she captures her overwhelming grief, admitting, “grief swallows me up like a vast sea.”
Act II delves deeper into the intricacies of Shelley’s narrative, spotlighting the profound intelligence and emotional resonance too often overlooked in commercial adaptations like the iconic 1931 film. The cruelty inflicted upon the creature by Victor — born from his refusal to nurture his creation — serves as the heart of the tragedy. The creature’s thirst for retribution unleashes chaos, prompting an exploration of the true nature of monstrosity. Is it the creature, cast aside by its creator, or Victor, who shirks his moral obligations? The moral dilemmas woven throughout Mary Shelley’s masterwork—entwined with critiques of the quest for immortality—are revisited in a powerful manner, especially when the spirit of Victor’s mother materializes, urging him to “look for life in life, Victor, not in death.”
Jasimine Bouldin and John Patrick Hayden in Mary Shelley’s Frankenstein. Photo: Mikki Schaffner
The ensemble cast shines bright, with each performer delivering captivating and insightful moments. Hayden’s portrayal of Victor and Percy Shelley oscillates beautifully between intensity and subtlety, with some of his most gripping scenes showcasing his quiet moments of reflection. Chace brings charm and comedic flair to his supporting roles, often reflecting genuine surprise and confusion at the events surrounding him. Bronkovic masterfully embodies various characters who meet tragic fates, ensuring each death resonates deeply. Displaying her comedic talents, she elicits laughter as a comical old woman who stumbles upon a disheveled Victor washed ashore in Scotland. Wade’s interpretation of the creature channels the heart of Mary Shelley’s vision, embodying a complex being who inspires empathy rather than fear. His journey from the dignified Byron to the anguished monster illustrates the internal struggle with depth and grace. Meanwhile, Bouldin’s dynamic range shines in her dual roles as Mary and Elizabeth, expert at navigating the tempestuous emotions imposed by Victor and Percy. Additionally, she poignantly expresses the fates that await Lord Byron, Dr. Polidori, Claire Clairmont, Percy Bysshe Shelley, and eventually Mary herself, leading into a heartrending conclusion.
With Sam Reno’s evocative set design, Rainy Edwards’ meticulous costumes, and Jeff Adelberg’s atmospheric lighting, the stage is a visual feast. Robert Carlton Stimmel’s lush projections, combined with Zack Bennett’s captivating sound design, enrich the experience, providing everything from thrilling bursts of thunder and gentle baby cries to humorously eerie sound effects accompanying Frankenstein’s ghastly organ harvest. Director Brian Isaac Phillips deserves commendation for his adept pacing, creating a rhythm that allows the audience to fully engage with the unfolding drama, interspersing moments of tension with unexpected humor.
Is Mary Shelley’s Frankenstein still relevant today? In a world where we grapple with accountability and the consequences of our electoral choices, it is striking to reflect on Victor’s declaration, “In our ignorance we unleash a trove of ills on the world,” which resonates unsettlingly with the contemporary sociopolitical landscape.
David Greenham is an arts and culture consultant, adjunct lecturer on Drama at the University of Maine at Augusta, and is the former executive director of the Maine Arts Commission. He can be found at
### Interview with Director Brian Isaac Phillips of *Mary Shelley’s Frankenstein*
**Editor:** Thank you for joining us today, Brian. This adaptation of Mary Shelley’s *Frankenstein* has received glowing reviews. What inspired you and co-writer David Catlin to revisit this classic story in such a profound way?
**Brian Isaac Phillips:** Thank you for having me! Mary Shelley’s *Frankenstein* is a rich tapestry of themes like creation, loss, and the search for belonging. David and I saw an opportunity to delve deeper into the story’s emotional core and the complexities of Shelley’s life. We wanted to highlight how relevant these themes remain today, particularly regarding the moral questions surrounding creation and responsibility.
**Editor:** The production beautifully transitions from the serene Lake Geneva setting to the haunting narrative of Frankenstein’s tale. How did you approach the storytelling structure to achieve that?
**Brian Isaac Phillips:** We chose an epistolary format, employing multiple narrators to illuminate different perspectives throughout the play. By doing this, we not only reflect Shelley’s original narrative style but also allow the audience to connect with various characters on a more intimate level. It creates a layered experience that showcases the interwoven lives affected by Victor Frankenstein’s actions.
**Editor:** Speaking of characters, can you tell us a little about how you approached casting? The performances have been highly praised.
**Brian Isaac Phillips:** Absolutely! We aimed for a cast that could capture the emotional depth and complexity of these iconic characters. The actors brought their interpretations while seamlessly blending into the ensemble. For instance, John Patrick Hayden’s embodiment of both Victor and Percy encapsulates the duality of ambition and vulnerability so brilliantly. Each actor contributes something unique, and together they create a dynamic that’s thrilling to watch.
**Editor:** The themes of misogyny and the struggles of Mary Shelley as a woman in a male-dominated literary world resonate strongly. What do you hope audiences take away from this aspect of the production?
**Brian Isaac Phillips:** It’s essential to acknowledge not only Mary Shelley’s genius but also the societal pressures she faced. By exploring her experiences alongside the brilliant but belittling Percy, Lord Byron, and Dr. Polidori, we shine a light on the broader struggles women face in creative fields. I hope audiences come away feeling empowered by Mary’s resilience and recognizing the importance of amplifying underrepresented voices.
**Editor:** The production runs until November 24 at the Nancy L. Donahue Theatre. What do you want to say to those contemplating attending?
**Brian Isaac Phillips:** I invite everyone to experience this rendition of *Mary Shelley’s Frankenstein*. It’s not just a horror story; it’s a profound exploration of human experience, loss, and the ethical implications of creation. Whether you’re familiar with the original tale or encountering it for the first time, we promise an engaging and thought-provoking experience that will stay with you long after the final bow.
**Editor:** Thank you, Brian. It sounds like a remarkable production, and I look forward to seeing it!
**Brian Isaac Phillips:** Thank you! We can’t wait to share it with everyone.
