Macquarie Musical Society: Frankenstein the Musical - Review by Jessica Scopelliti

On a fateful night in 1816, a waking dream haunted seventeen-year-old Mary Shelley who was spending the summer amongst the most highly renowned Romantic poets of her time, in Lord Byron’s idyllic Villa Diodati, overlooking Lake Geneva. While many of us know the origin story - a contest proposed by Byron to the literary group, soliciting them to write the most chilling tale - I am sure we can agree that Mary Shelley did not anticipate the popular culture phenomenon that Frankenstein would become.

Macquarie Musical Society's production of Frankenstein the Musical presents another iteration of this iconic cautionary tale, drawing us into the Gothic world from the outset, on a blacked out stage with a single spotlight illuminating the dejected Victor Frankenstein, alone and on his knees. Director Grant Brennan’s vast experience in the theatre is evident in his blocking and staging choices; for example in the use of a single riser which creates another dimension in the world of the play - physically and figuratively - as it places the ambitious Victor Frankenstein above the earthly exploits of his family and friends while he reaches for a more heavenly pursuit: the creation of human life.

The play begins with Captain Robert Walton’s intense and familiar soliloquy, spoken by Phil Joseph, who frames Frankenstein’s tale in the form of a letter written at sea. Building the atmosphere are the haunting, dissonant sounds of the live band and the eerie vocals of the ensemble which draw us into the gripping tale. The hopeful company number, “A Golden Age,” reveals at once the talent of the ensemble who waltz and warble joyfully in four part harmony, until the first tragedy strikes: the death of Mrs. Frankenstein. This sorry event becomes the catalyst for Victor’s ambition, to bring back the dead to life, pushing him past limits he never meant to exceed.

We are more intimately introduced to Victor Frankenstein (played by James Waters) and The Creature (played by Daniel Walsh) in the ensuing numbers, “Amen” and “Birth to My Creation,” with Walsh showing his versatility as an actor and his dynamic allure as a singer in the role of the Condemned Man, before adopting the epic portrayal of Frankenstein’s monster himself. Walsh’s vocal talent and range are arresting and there are many occasions on which he encapsulates the audience’s awe with his resonant tones. James Waters is really “in the moment” with his undertaking of the protagonist’s role, Victor Frankenstein, often flashing his crazed eyes and revealing his cursed ambition through beautiful, yet haunting refrains. His efforts towards mastering this epic role have certainly paid off.

Gabi Lanham brings true musicality and vocal talent to the production in the role of Frankenstein’s paramour, Elizabeth. Her expressive vibrato is charming in the duet “Dear Victor” and her harmonic intonations are noteworthy in several numbers, particularly in a standout duet moment with Frankenstein’s dearest friend Henry Clerval (played by Sachi Subramanian) whose vocal skill, pitch and tone are, simply put, beautiful. I must commend Subramanian’s performance which was never less than convincing or professional, despite technical complications with her microphone during the show.

Although the plights of the above mentioned characters lead to tragic ends, they are accompanied admirably by the ensemble and a cast of talented young actors in the assisting roles of Alphonse Frankenstein, Justine, William Frankenstein, Agatha and her father, the Blind Man. “Your Father’s Eyes” sung by Noah Hickey as Alphonse is engaging, and a brief acknowledgement of the budding talent of Liliana Haworth in her first musical theatre role as Agatha is worthwhile; she is sure to dominate weightier soprano parts in her theatrical future.

While the talent of the company is indisputable in numbers such as “The Proposition,” which showcases their vocal solidarity, and “The Chase” which sees Victor Frankenstein weaving through the trail of phantoms who have perished at his own hands, I question the compulsion to adopt the brassy-American-broadway-inflection in a show based on a famous British literary work. This accent seems to be a popular choice of young musical theatre performers, which may make my opinion an unpopular one, yet I think there is merit in Australian productions which endeavour to be more than an imitation of American broadway recordings - especially when the story is not essentially American. 

Notwithstanding this small criticism, the compelling elements of the production (in not only the staging, acting and song, but also the flair of the lighting team, the convincing costuming, exquisite make-up artistry and even the impressive marketing efforts in the poster and program) all combine to make for an enjoyable night of theatre in which the hard work of many has come to fruition. It is truly heart-warming and delightful to see musical theatre being kept alive (it’s alive!) by passionate and creative young people. Their audience of family and friends were delighted with opening night and I am sure you won’t be disappointed when you attend this admirable production of Frankenstein the Musical.