After 5 Theater Review: 'Frankenstein, Monster'

Mary Shelley's Gothic masterpiece, "Frankenstein, or The Modern Day Prometheus," was published in 1818, when she was a mere 21 years old. Shelley had begun writing it at age 18 after a challenge from her friend, poet Lord Byron. Legend has it that he began the tale as an oral ghost story and encouraged her to complete it.

The rest is history.

Along with Bram Stoker's "Dracula," which came along in 1897, Shelley's book is considered a benchmark of the horror genre. But the book delves so much deeper than mere scare tactics. It examines the impact of the relationship between science and humanity and the very nature of humanity itself.

The book has inspired more than 50 films and stage productions, the best-known being the 1931 movie directed by James Whale and starring Boris Karloff.

The latest reincarnation of the tale, "Frankenstein, Monster," made its premiere at the Gillioz Theatre on Oct. 8.

George Cron, veteran actor of the Springfield stage, makes his directorial debut with a play co-written by Le Wilhelm and Steven Barrett. Cron and Wilhelm are longtime friends, and Cron - along with others involved in the production - was a driving force in writing the new version of the classic tale. The writing, including several rewrites, was completed in about a month, according to the playwrights.

Wilhelm was instrumental in Springfield live theater in the 1970s, presenting his works at The New Electric Dinner Theatre and New Hope Theatre, and directing Kathleen Turner, John Goodman and other local college students of the time. He, Barrett and Cron have crafted a new version of a story that is familiar at its core but unique in its execution.

The story is so well known that it doesn't seem necessary to go through the details.

Simply put: A scientist has a messianic bent, creates life and realizes creating life also creates problems. His creation, like so many humans, struggles with its attempts to find the meaning of life. Good things happen. Bad things happen.

It's simple on the surface, but Shelley's novel put it so eloquently. The inspiration her work evoked is well-deserved.

The approach of "Frankenstein, Monster" is minimalist (not a derisive observation), and it is clear the creators of the project know the subject matter well. It's also clear they wanted something different.

The cast is small and the sets are few but well crafted.

The lighting and music are used to great effect. One opening-night problem was with wireless microphones not functioning properly, at times, which made hearing some dialogue difficult. It's probably already a problem solved.

The cast was a unified group and there's a bit of horror here, a bit of humor there and not a dull moment.

Deborah Cron, wife of the director, is serving as dialogue and diction coach for the play. One suspects she has a lot of other duties and contributions.

"We truly did this on a shoestring and are proud that it doesn't look that way," she says. "Lots of people really put their hearts into it."

As to the stage ambience, there's something about a beautifully restored historic theater that adds spice to a Gothic recipe.