Exploring morality through the lens of literature's famed monster
By Janine Gastineau, For the Camera
January 20, 2006
LAFAYETTE — Inspired by Mary Shelley's classic horror novel "Frankenstein," the Theater Company of Lafayette's ambitious undertaking, "The Frankenstein Experiment," presents 12 new playlets by emerging playwrights in two separate evenings of performances.
Alternately wacky and thought-provoking, the "Promise and Peril" half of the program explores themes of mortality and immortality, faith and fear, science and morality, all within six different 10-minute plays.
"Promethea, Unlaced" **1/2
Jane Allard Gray plays a laboring Mary Wollestonecraft Shelley, attended by Jared Wilson as Robert Wolton, her male midwife. He's also the target of her verbal abuse, fueled both by pangs of childbirth and his expressions of faith (which are diametrically opposed). Playwright Marki Shalloe's brief glimpse into feminist Shelley's life makes several salient points about her views on gender equality and freedom of sexual and religious expression. As Wolton, Wilson is steadfast, kind if not too smart, and compassionate.
Gray's physical suffering and inner anguish, however, seem at times tacked on, though she is moving in her final speech.
"I've Created A..." 1/2
Bill Graham (Frank) leads a committed cast through a poorly written sketch that begs the question, "Why did the playwright break the silence of the universe to write this?" While Jonathan Bender tries to shed light on the workings of one's imagination and the crazy ideas we give life to (often for the slimmest justifications), "I've Created A..." goes nowhere fast, and one agonizes for the dedicated actors who have to perform it.
"A Hideous Idea" **1/2
Watching Steve Rasnic Tem's strange story unfold is an exercise in frustration, as you're kept wondering until almost the very last line what they're talking about. Clearly trying to create a sense of mystery, Tem gives out so little information that you're distracted from the action by constantly wondering whether the characters' son is horribly deformed? A mutant being? A lab experiment gone awry? And what was so odd about his conception?
Nothing, including the strangely silent reporter (Chris Berry), makes much sense, and the story is only redeemed by touching performances by Ellen Ranson (She) and Tim Englert (He), two simple people blindsided by their son's horrible deeds. Both actors invest this playlet with truth, sorrow and regret, elevating it with a humanity the playwright forgot to provide.
"Hoping to See God" ***1/2
The evening's strongest piece, Edith Weiss's playlet pits Victor Frankenstein (Josh Hartwell, in a moving performance) and his monster (the equally touching Brian Landis Folkins) against one another in an after-death argument.
Caught between heaven and hell, Victor's traditional Christianity prevents him from seeing his creation as anything but sub-human and horrific, while the monster, rejected by men, reads Milton and Goethe and absorbs their ideas about life, love and forgiveness. Victor, who thinks narrowly, remains judgmental and bitter, while the monster transcends his brutal nature to forgive Victor and move on. Victor, by his unwillingness to change, condemns himself to a hell he has created.
"My Science Project" ***
It's a shame Gil Shalit is cast in only one of the project's 12 plays: he is a find. Adept at physical comedy and possessing good verbal timing, his smug, self-assured entrance into the bizarre world of "My Science Project" ushers us into the play's absurdity. As the teenage Bud, Rachel D. Graham is funny, sweet and rebellious. And Gray makes her second (and more successful) appearance of the evening as the hard-drinking mom-for-hire in Brad Weismann's dark comedy about one life's beginning.
"The Facts of Life: A Reappraisal" ***
A very funny slant on the "birds and bees" conversation every parent dreads. Mom (the hilarious Vonalda Utterback) asks Dad (the equally amusing Bill Graham) to explain things to their son (a perplexed Shane Honkanen), but his idea of life's beginnings leads to a very strange exchange.
Since Mom — who fell in love with Dad, despite his monstrous appearance — also taught him to speak and dress like normal people, she blames herself for the fact that her son now thinks being chased by ax-wielding mobs is part of the reproductive process. Graham has some priceless, worthy-of-Mel-Brooks moments, and his costume (by Jackie Tisanai and Mary Secor) is inspired. This is final piece in "Promise and Peril," and worth the wait.