“Superb”, “modern and thrilling” and “pulls out every available stop” – take a look at what audiences and critics have said about Rona Munro’s new adaptation of Frankenstein, then head to the Belgrade Theatre to catch it this week before it heads back off on tour. Book now!
Munro‘s adaptation of Mary Shelley’s tale, which is co-produced by the Belgrade Theatre, Selladoor Productions, Matthew Townshend Productions and Perth Theatre at Horsecross Arts, runs at the Midlands venue until 12 October 2019.
A young scientist by the name of Frankenstein breathes life into a gruesome body. Banished into an indifferent world, Frankenstein’s creature desperately seeks out his true identity, but the agony of rejection and a broken promise push him into darkness. Dangerous and vengeful, the creature threatens to obliterate Frankenstein and everyone he loves, in a ferocious and bloodthirsty hunt for his maker.
Munro’s Frankenstein puts author Mary Shelley squarely at the centre of the action, stripping away the additions and augmentations added by versions created over the years and taking it back to the novel and, as Munro puts it, “the dark and rebellious roar of its adolescent author”.
Eilidh Loan plays the central role of Shelley, with Ben Castle-Gibb, making his professional stage debut, as Victor Frankenstein. Michael Moreland, Thierry Mabonga, Sarah MacGillivray, Natali McCleary and Greg Powrie complete the cast, which is directed by Patricia Benecke.
Frankenstein runs at Coventry’s Belgrade Theatre, Belgrade Square, Corporation St, Coventry CV1 1GS from 1 to 12 October with performances Mondays to Saturdays at 7.45pm (Thu 3 Oct at 7pm) with matinees Sats 2.30pm and 9 & 10 Oct 1.30pm. Tickets are priced from £8.50. CLICK HERE TO PURCHASE!
Review highlights
“… a superb job in crafting a production that keeps the 200-year-old story as modern and thrilling as possible”
Julie Wallis: “This classic horror story is lovingly depicted thanks to some superb acting”
Lynda Lewis: “This monster, superbly played by Michael Moreland, has almost robotic speech emphasising his man made inception and gradually revealing its descent from hope to despair”
John Hudson: “Michael Moreland gives a performance of great flesh and blood physicality, which makes the superhuman powers Shelley bestows on the Monster credible”
And from earlier in the tour…
Joyce McMillan: “[Eilidh] Loan pulls out every available stop to make it work, capturing the ruthless horror of Mary’s vision but adding a distinctive layer of ironic, vengeful sarcasm about men like Victor and their pretensions”
Neil Cooper: “By putting Mary onstage at the centre of things rather than a mere framing device, Munro has written something that gets to the heart of the creative process itself”
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