Review of Frankenstein at the national
I am among those few lucky people who have got tickets to the National production of Frankenstein.
While it is true that Benedict Cumberbatch (BC) being in the cast certainly helped, I would always have wanted to see it as Frankenstein is one of my favourite novels.
Firstly the production values are amazing. Although the set isn't as impressive as Oliver, where it vitually dances around the stage, it is beautiful and incredibly well designed: Real rain falls and puppet birds fly from wheatcheaves. The revolving stage is very well used, from the opening moments where the creature's 'womb' slowly revolves as you enter, to the entrance of new sets up through the floor. It is incredibly impressive and displays just how enormous the backstage spaces in the Olivier theatre are. I can't think of many other theatres where this would be even possible.
The scene changes are also impressive. Rarely have I been to a production where they are so slicky done and the elegance of the ideas so good that they are as entertaining as the rest of the play.
The music is also excellent, although there is one early scene it looks as though the play is about to turn into a musical, and although I do like it I can understand how some critics find it odd. I think it is supposed to be bizarre; it's the creature's first view of the wide world and that is going to be inherently overwhelming and confusing.
Coming to the performances and casting.
This is the first play I have ever seen where the casting is completely colour blind. Frankenstein's father is black while both the lead actors are white. This is a bit jaring but I assumed it was done because Danny Boyle thought George Harris was the best actor for the part but, although he has been good in other things, he was terrible in this - by far the worst actor in the company.
This is the second National production I have seen recently (the other being Warhorse) where I was surprised how dull, uninteresting or poor some of the actors were. With so many actors out of work and this being such a prestigious theatre I would have though they would have got the best. But it doesn't seem to be the case.
This contrasted heavily with Season's Greetings (also at the National) where everyone was splendid. More like that please.
There was one scene when BC came on stage the contrast was incredible. He 'was ' the others were 'acting'. He was Victor when I saw it (in complete focused sociopath mode and not taking responsibility for any of his actions) and very good. Johnny Lee Miller as the monster was also impressive. The other standout was Karl Johnson as the blind man with the dancer who played the female creature also lovely.
So what else to say? I really like the play and do agree that getting to know the creature getting to know the world is time well spent, but the best scenes by far were those just between Victor and the Creature. So the fact that we have to wait so long for those scenes was a frustration. BC and JLM sparkled when together and no second rate actors were there to distract.
So the nudity, both male and female. Rather than being a gimmick it does make complete sense. Frankenstein cannot bring himself to take responsibility for the fact he has created then abandoned a new lifeform. Having him worry about modesty would have been completely out of character. It definitely wasn't suggestive. Although one thing in particular did occur to me - it takes a brave actor(s) to crawl around naked on a stage without worrying about splinters in their delicate bits.
I'm glad to say that I was lucky enough to catch BC after the performance. He came out very quickly and was was in a rush but he did sign for the 10 or so people who were waiting. He also declared me to be 'very sweet' for saying that his cold/illness he's been suffering from lately didn't show on stage.
I was amazed that someone who is capable of such projection is so softly spoken when not on stage. On stage his voice had had no sign of the cold but it did sound a little rough when speaking to us. He also seemed really pleased to meet a couple of people who had seen 'After the Dance' last year. Long time fans rather than newbies like me :)
I've always enjoyed waiting at the stage door the few times I've done it. I've always got chatting with the other lovely people there and a most entertaining time. Getting the autograph is definitely not the whole of the experience.
I just wish I had when I saw 'Beckett' with Robert Lindsay and Derek Jacobi
Although I agree with the idea that when you buy a ticket to the theatre all you are buying is the actor's time on the stage. Off stage it's upto them.
However, if you know that people are likely to be waiting for autographs at the stage door it seems that you should acknowledge the compliment. So if you are in a rush, are completely knackered and/or don't want to meet anyone tonight there are many ways to deal with this
Get someone to collect anything that people want signed and sign it in private (Martin Shaw)
Come out and announce/apologise that you're not up to signing anything for whatever reason (David Tennant, Jon Pertwee)
Make sure that it's been announced that you've had to rush off (BC)
Have an announcement made that items left at the stage door with an SAE will be signed and sent back. (Loads of people)
What not to do:-
Don't even turn up for the bows on stage (Naomie Harris, George Harris)
I do wonder if something dreadful had happened and they had to rush off but she didn't come out when I was waiting for Season's Greetings autographs either so I doubt it. Mind you I got Danny Boyle autograph that night so I was happy.
Avoid using the stage door and don't let anyone know you're not coming out (Johnny Lee Miller, Naomie Harris)
This was quite strange. I'm not interested in either of them but I thought JLM was very good and wanted to say so as I was getting my programme signed. There was only about 5 of us at the stage he left another way so I'm bemused why. It also seems to be their common mode of behaviour.
It sounds so harmless but actors/directors are getting fed up of other people making money from their autographs that some are becoming fussy about what they sign.
I completely agree. Sometimes the dealers are very obvious (have loads of things to sign, don't want it personalised and have an unpleasant feel to them) but other times not.
It's sad but I think it might be the way things are going and anything not directly related to the performance might get refused.
So in summary, I very much enjoyed the evening and am looking forward to seeing BC as the creature next time.
While it is true that Benedict Cumberbatch (BC) being in the cast certainly helped, I would always have wanted to see it as Frankenstein is one of my favourite novels.
Firstly the production values are amazing. Although the set isn't as impressive as Oliver, where it vitually dances around the stage, it is beautiful and incredibly well designed: Real rain falls and puppet birds fly from wheatcheaves. The revolving stage is very well used, from the opening moments where the creature's 'womb' slowly revolves as you enter, to the entrance of new sets up through the floor. It is incredibly impressive and displays just how enormous the backstage spaces in the Olivier theatre are. I can't think of many other theatres where this would be even possible.
The scene changes are also impressive. Rarely have I been to a production where they are so slicky done and the elegance of the ideas so good that they are as entertaining as the rest of the play.
The music is also excellent, although there is one early scene it looks as though the play is about to turn into a musical, and although I do like it I can understand how some critics find it odd. I think it is supposed to be bizarre; it's the creature's first view of the wide world and that is going to be inherently overwhelming and confusing.
Coming to the performances and casting.
This is the first play I have ever seen where the casting is completely colour blind. Frankenstein's father is black while both the lead actors are white. This is a bit jaring but I assumed it was done because Danny Boyle thought George Harris was the best actor for the part but, although he has been good in other things, he was terrible in this - by far the worst actor in the company.
This is the second National production I have seen recently (the other being Warhorse) where I was surprised how dull, uninteresting or poor some of the actors were. With so many actors out of work and this being such a prestigious theatre I would have though they would have got the best. But it doesn't seem to be the case.
This contrasted heavily with Season's Greetings (also at the National) where everyone was splendid. More like that please.
There was one scene when BC came on stage the contrast was incredible. He 'was ' the others were 'acting'. He was Victor when I saw it (in complete focused sociopath mode and not taking responsibility for any of his actions) and very good. Johnny Lee Miller as the monster was also impressive. The other standout was Karl Johnson as the blind man with the dancer who played the female creature also lovely.
So what else to say? I really like the play and do agree that getting to know the creature getting to know the world is time well spent, but the best scenes by far were those just between Victor and the Creature. So the fact that we have to wait so long for those scenes was a frustration. BC and JLM sparkled when together and no second rate actors were there to distract.
So the nudity, both male and female. Rather than being a gimmick it does make complete sense. Frankenstein cannot bring himself to take responsibility for the fact he has created then abandoned a new lifeform. Having him worry about modesty would have been completely out of character. It definitely wasn't suggestive. Although one thing in particular did occur to me - it takes a brave actor(s) to crawl around naked on a stage without worrying about splinters in their delicate bits.
I'm glad to say that I was lucky enough to catch BC after the performance. He came out very quickly and was was in a rush but he did sign for the 10 or so people who were waiting. He also declared me to be 'very sweet' for saying that his cold/illness he's been suffering from lately didn't show on stage.
I was amazed that someone who is capable of such projection is so softly spoken when not on stage. On stage his voice had had no sign of the cold but it did sound a little rough when speaking to us. He also seemed really pleased to meet a couple of people who had seen 'After the Dance' last year. Long time fans rather than newbies like me :)
I've always enjoyed waiting at the stage door the few times I've done it. I've always got chatting with the other lovely people there and a most entertaining time. Getting the autograph is definitely not the whole of the experience.
I just wish I had when I saw 'Beckett' with Robert Lindsay and Derek Jacobi
Although I agree with the idea that when you buy a ticket to the theatre all you are buying is the actor's time on the stage. Off stage it's upto them.
However, if you know that people are likely to be waiting for autographs at the stage door it seems that you should acknowledge the compliment. So if you are in a rush, are completely knackered and/or don't want to meet anyone tonight there are many ways to deal with this
Get someone to collect anything that people want signed and sign it in private (Martin Shaw)
Come out and announce/apologise that you're not up to signing anything for whatever reason (David Tennant, Jon Pertwee)
Make sure that it's been announced that you've had to rush off (BC)
Have an announcement made that items left at the stage door with an SAE will be signed and sent back. (Loads of people)
What not to do:-
Don't even turn up for the bows on stage (Naomie Harris, George Harris)
I do wonder if something dreadful had happened and they had to rush off but she didn't come out when I was waiting for Season's Greetings autographs either so I doubt it. Mind you I got Danny Boyle autograph that night so I was happy.
Avoid using the stage door and don't let anyone know you're not coming out (Johnny Lee Miller, Naomie Harris)
This was quite strange. I'm not interested in either of them but I thought JLM was very good and wanted to say so as I was getting my programme signed. There was only about 5 of us at the stage he left another way so I'm bemused why. It also seems to be their common mode of behaviour.
It sounds so harmless but actors/directors are getting fed up of other people making money from their autographs that some are becoming fussy about what they sign.
I completely agree. Sometimes the dealers are very obvious (have loads of things to sign, don't want it personalised and have an unpleasant feel to them) but other times not.
It's sad but I think it might be the way things are going and anything not directly related to the performance might get refused.
So in summary, I very much enjoyed the evening and am looking forward to seeing BC as the creature next time.