New Frankenstein headcanon activated

It's been years since I read Frankenstein; I had only vague memories of the plot, so when I went to Shakespeare Theatre's production last night, I couldn't remember what was in the original and what wasn't. Emily Burns's adaptation takes liberties, but in the best of ways.

Burns, who also directed, centers the story on the relationship between Victor Frankenstein (Nick Westrate) and his fiancée/adopted sister Elizabeth (Rebecca S'Manga Frank) and yes, the show does acknowledge the weirdness of that combination of relationships. If you thought Victor sucked before, wait until you experience him here. The story of Frankenstein and his creature is so embedded in our culture that the script pretty much assumes you at least know the basics, that is, that Victor Frankenstein has created a creature and brought him to life (which is briefly shown as the play begins). The play starts the night before Victor and Elizabeth's wedding. She's having doubts; Victor is acting very strange about what he was doing at school. 

Rebecca S'Manga Frank and Nick Westrate in Frankenstein. Courtesy Shakespeare Theatre.

I was thinking a lot about family throughout the play, which starts with a voiceover from the Creature (José Espinosa) alluding to this. What makes someone family? Can that change? What's it like to have that love...and not have it? To have it given to someone else when you think it should be yours?

The other theme, for me, was trust and responsibility. It's the basis of the tension between Elizabeth and Victor. She's about to marry him, but doesn't believe his reasons for falling off the grid at school. His constant evasiveness, even at times when he says he's telling the truth, would make even audience members who don't know the story suspect him. Their history, of colors, colors the relationship—Elizabeth the preferred child, whose sickness led to the death of their mother. Does Victor blame her and is taking it out on her?

The script is written in the modern vernacular and the actors were consistently excellent. What really blew me away was the mood—the lighting and sound design fantastically ratcheted up tension throughout the evening. There were periods of quick cuts, with just a change in lighting design to illustrate two very different scenes. 

The play ended. The stage went to black. And it was one of those performances where the audience just continued to sit silent, mesmerized, until the actors came out for their bows. Very powerful. Highly recommend for anyone in the DC area, and is my new headcanon for the story.