Review in Crystal Lake: Playwright adds unexpected twists to ‘Frankenstein’

Jay Geller never ceases to amaze; the theater chair at McHenry County College for 24 years, he continues to lead and inspire and demonstrate artistic sensitivity. He also confesses to being a Frankenstein fan since childhood, and owns several versions of the original 1931 film. Perhaps that’s why Danielle Mohlman’s uniquely adapted play of the Mary Shelley novel “Frankenstein” was so attractive to him.

Mohlman’s play almost can be categorized as a play-within-a-play, as it tells the story of Mary Shelley’s personal life (loss of an infant daughter, relationship with her husband, poet Percy Bysshe Shelley) mixed with the evolution of her novel “Frankenstein.” Interwoven throughout are the societal and historical treatments of women and discussions of poverty and wealth at the time.

Geller’s “Frankenstein” production is a well-paced, inventive and engaging experience. Assistant Director Maggie McCord provides two notable choreographed scenes; the dance of the four black, hooded figures separating the characters of Elizabeth and Victor is especially symbolic.

As you enter The Black Box Theatre, the sounds of thunder and wind (sound design by Spencer White) set the mood of what’s to come. The set design by Eric Luchen is an appropriately creative one for The Black Box – clean, simple and highly effective. Four walls, showcasing large black-and-white photos of the characters, are hung astride flickering candle columns. The floor is splattered with drizzles and shades of purple, black and white, and character entrances and exits are made via the open spaces between the four walls. Minimal set pieces are carried in by the cast.

And because of the intimate setting, the audience at all times is close enough to touch. Lighting by Deb Holmen-Madden continues the atmosphere and movement flow of events. And thanks to costume design by Carol Foreman, there is no doubt we are way back in time in England. Social positions and personalities are evident in Foreman’s design and choice of much of the material, particularly the men’s suits, waistcoats and top hats.

Geller has cast the ensemble of 17 actors well; characters are individuals and easily defined. They have relationships, both attractive and repellent. The play’s theme of potential negative impacts of actions is abundantly clear.

Trinity Anderson in her dual role of Mary Shelley and The Creature is an astonishing actress. She is more than capable and quite admirable in her complexity of transitioning volume, articulation and body movements. Anderson has a wonderful chemistry with Sheri Warren, who portrays feminist and author Mary Wollstonecraft, Mary Shelley’s mother. Warren is mature, comforting, persistent and loving, and despite Shelley’s initial rejection of her as a manifestation and memory, Warren is quite credible as a ghost, and a constant encourager and supporter of Anderson’s character. Warren radiates charm and confidence.

Nathan Bodecker is a highly committed actor who shows Victor Frankenstein’s turmoil and torment. He, like Anderson, is passionate and fervent in his portrayal. With his posture, beard and mustache, he looks every bit the Victorian gentleman, and his willful ignorance is impactful.

Several other performances are particularly notable: Wyatt Mizerk as Victor’s loyal and best friend Henry; Izzy Griffin as the charmingly honest Justine: Griffin has a very poignant scene in Act Two with Lucy Hagen’s young William Frankenstein; Hagen is earnest and vulnerable in relaying the story of the locket and asking an important question; and Addie Keller as the fearless and commanding Elizabeth Lavenza.

The supporting ensemble also is to be applauded: the sophisticated Ethan Sherman (Percy Bysshe Shelley), the sweet E.J. Svendson (Caroline), the regal Asa Pittner (Monsieur Beaufort), the villainous Jake Seelye (Alphonse), the protective Rachel Loeding (Agatha) and the kindly Lucinda Nicholas (Madame De Lacey).

Acting as a modified Greek chorus are the members of The Party: Willow Broussard, Angel Zuhlke, Bobby Roberts and Taylor Runge.

The original “Frankenstein” continues to be a timeless classic of one man’s obsession and the resulting nightmares of his attempts to create life. Despite us all having an idea of what “Frankenstein” is about, Mohlman’s play is an inventive extension; MCC’s Black Box production is a welcomed, ambitious work that is both entertaining and absorbing and well worth seeing.

(Play contains violence and adult subject matter; it runs two hours with one intermission.)

• Regina Belt-Daniels is a veteran of the theater, who has directed, acted and stage managed productions throughout Illinois. She is, however, not a fan of horror films or plays; the best she can do is “Young Frankenstein.” When not onstage or backstage, she can be found in an audience writing theater reviews or traveling with her husband.

IF YOU GO

WHAT: “Frankenstein”

WHERE: McHenry County College’s Black Box Theatre, Building E, 8900 U.S. Highway 14, Crystal Lake

WHEN: 7 p.m. Oct. 28 and 31, Nov. 3-4; 2 p.m. Oct. 29 and Nov. 5

COST: $15; $10 for students, seniors, veterans and MCC employees and alumni

INFORMATION: 815-455-8746, jgeller@mchenry.edu, www.mchenry.edu/blackbox