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A dark and dangerous foray into the world of monsters, men, love, and lust from the internationally acclaimed Mark Bruce Company.Summary
Rating
Excellent
The Mark Bruce Company’s touring Frankenstein double bill brings both modern and classic stories to The Place’s stage. Overarching themes of life, love, lust, and loss tie the two works together while the stark contrast in music and design shows the distinction between the worlds they exist within.
Preceding the main billing is Bruce’s original work Liberation Day, a series of solos, duets, and trios that demand attention. The cast performs Bruce’s movement with a strength, tension, and intensity of visage not unlike soldiers with their battle orders. The choreography is compelling and inventive with one section being performed by the dancers entirely on their knees, while the use of simple choreographic devices, such as phrases being performed in canon, brings additional layers of visual complexity to the stage. Yet, it is the poetry of Bruce’s original music and its tense, gravelly vocals that truly makes the piece magnetic. The music’s stylings transport the listener deep into the American south and create a creeping sense of darkness and incoming danger that leaves us wondering “what [are] we gonna do in the aftermath?”
Fortunately, we’re not left wondering for long. After a short intermission we’re ready for round two, a 50-minute wordless adaptation of Mary Shelley’s 41,500 (approx.) word novel Frankenstein. To achieve a run time of less than an hour, while retaining clarity of storytelling, some details of Shelley’s original plot are sacrificed. Still, this makes way for Bruce’s addition of Prometheus and Narcissus, characters from Greek mythology that don’t feature in the original story yet bring an enticing depth of symbolism to the production that can otherwise be quite literal. For example, the hunched figure of supreme trickster Prometheus (portrayed strikingly by Eleanor Duval) watching over many of the scenes generates a heavy sense of foreboding; while the face-off between stunningly beautiful god (or goddess in this case) of self-obsession, Narcissus (Carina Howard), and The Monster creates intriguing juxtaposition.
Bruce’s choreography is breath-filled and precise, blending balletic movements with phrases reminiscent of country dancing, and it is evident that he has seized with fervour the challenge of creating a contrasting and unique movement language for The Monster. Disjointed, yet fluid, floppy yet requiring immense strength to execute, The Monster moves with an otherness that truly sets it apart from the other characters onstage and lends a richness and depth to the story that, without it, could have easily been missed. Stepping into this challenging role is Jonathan Goddard who gives a standout performance, delivering the choreography with ease born of intensive rehearsal and true skill. Goddard is joined by Duval as Prometheus, Cordelia Braithwaite who captivates as The Bride of the Monster, Howard bringing strength and passion to her role as Narcissus, Dominic Rocca portraying the tormented Doctor Frankenstein with crumbling composure, and Anna Daly bringing grace and tenderness to Frankenstein’s love, Elizabeth.
Frankenstein is ultimately brought to life by a skilful design team. The production benefits greatly from Guy Hoare’s rave-worthy lighting, Dorothee Brodrück’s brilliant costuming, and Phil Eddolls’ imaginative set. Working alongside the dancers and choreography to create the piece’s atmosphere, each design element is essential. Hoare’s use of light is particularly noteworthy, however, as he builds suspense, allowing us to see only what he dictates through skilful creation of depth and shadow. It is also worth noting here that, while undoubtedly fitting and evocative, audience members who find themselves easily overstimulated or distressed by sound may find the production’s score too intense a listening experience without accessibility aids such as ear plugs.
Intense and evocative from start to finish, Frankenstein: A Double Bill, is an experience to indulge in.
Written, Choreography and Directed by: Mark Bruce
Costume Design by: Dorothee Brodrück
Lighting Design by: Guy Hoare
Set Design by: Phil Eddolls
Frankenstein: A Double Bill has completed its run at The Place.
