The novel by Mary Shelley, published in 1818, has been likened to a set of Russian nesting dolls. It unfolds through the narrative of a sea captain communicating with his sister, recounting an encounter at the north pole where he observes a colossal figure traversing the icy terrain by a sled pulled by dogs. This figure, who later recounts his own tale, is none other than the enigmatic being created by Dr. Frankenstein. The captain later rescues Dr. Frankenstein, who discloses his intent to eradicate the “monster.” In a fresh interpretation by the touring theatre company Imitating the Dog, in collaboration with Leeds Playhouse, a new layer is added to this intricate narrative.
The contemporary setting portrays a young woman sharing the news of a positive pregnancy test with a young man in what appears to be a modest flat furnished with a bed, some furniture, and a radio. As the woman remains stationary over the ensuing months, the man drifts in and out. Their elliptical conversations revolve around the implications of bringing life into the world and whether they should proceed with it. The potential consequences of this shared act of creation on their individual psyches are subtly hinted at, underscored by dance sequences that aim to unveil their inner emotions (choreographed by Casper Dillen).
Interspersed with the couple’s interactions is a radio broadcast adaptation of “Frankenstein,” performed by the duo with a focused physicality portrayed by Georgia-Mae Myers and Nedum Okonyia. Known for their innovative blend of live performance and digital artistry, the company delivers awe-inspiring visual effects. The projections transport the audience from the domestic setting to snowstorm-laden landscapes, intricate laboratory scenes, and even the depiction of a ribcage.
While Shelley’s creation symbolized the prevailing political and social ideologies of her era, the contemporary couple seems confined within the walls of their apartment, detached from broader experiences. Though parallels between the woman’s pregnancy and Frankenstein’s reanimation of lifeless matter are hinted at, they are left largely unexplored.
An endeavor to tether the narrative to real-world issues feels forced. The couple’s voyeuristic fascination with a homeless man living below their window unfolds, with his plight serving as a catalyst for reflections on parental responsibilities. However, the resolution of his storyline feels contrived, failing to evoke genuine empathy from the characters.
In typical Imitating the Dog fashion, characterized by the collaborative efforts of Pete Brooks, Andrew Quick, and Simon Wainwright, the technological prowess injects energy into the performance. Yet, in this instance, the visual effects come across as superficial embellishments, attempting to invigorate a collection of intriguing concepts that fall short of fully engaging the audience.