Frankenstein is Dead!
October 2006

By: Kris Asher
4 stars (out of four)

It’s safe to say everyone knows the story of Mary Shelley’s “Frankenstein.” Even if you know the basic plot (remember, “Frankenstein”
refers to the monster) that framework is embedded within a part of our society’s shared experience.

With that communal experience in mind, Justin Cioppa and Richard Davis decided to continue the storyline on to its logically horrifying
conclusion. They started where Shelley’s tale left off and, fortunately, Cioppa has written a script good enough to stand the comparison.

The pacing is perfect, with tension rising from the beginning and lasting until the very last moment, in Guerilla Theatre’s “Frankenstein.”
Whereas most scripts would have gone for the typical horror approach, Cioppa went toward a more character-driven method. That
method paid off, making the play all the scarier because of the psychological depths the characters explore. What’s surprising about the
script though, is the amount of funny one-liners placed within the story. Never gratuitous, they perfectly offset the tense moments,
catching the audience by surprise.

The play, which takes place in 1803, has Dr. Frankenstein chartering a ship to America in hopes of escaping his creation, who
relentlessly follows him. However, the ship gets destroyed in a hurricane, with the remnants washing ashore along the Outer Banks of
N.C. The group who saves Frankenstein determines he’s the only survivor but can’t begin to imagine what lurks in the shadows, waiting
to get to the vulnerable doctor.

In addition to writing the script, Cioppa also directs, and that singular vision is apparent in the production. Parts of the play that would
appear problematic on paper are performed seamlessly. With the help of the fantastic lighting design by Jacki Booth, flashback scenes
interweave effortlessly with the present.

And speaking of interweaving, Cioppa did just that with two scenes that flip back and forth—one upstairs, one in the basement.
However, he made them into smaller segments, which proved a bold move. It recreated a sense of simultaneous action, increasing the
tension throughout every frame of the play. The music during the scene transitions also helped highlight that tension. I’m not sure who
picked Tom Waits, but he makes for the ideal complement to the tone of the production (you’ll understand just what I mean when you
hear it).

Naturally, a performance of this caliber could not be successful if not for the actors. As the title character, Jeff Boardman plays Dr. Victor
von Frankenstein with wonderful lunacy. Within the production, he portrays Frankenstein as a demented soul, as if psychologically
affected by the decisions of his past.

Liz Pierce, as Elizabeth Frankenstein, shows a depth of compassion for her fiancée/husband. The audience empathizes with her when
she tries to explain to her husband how he has been neglecting her.

Neglect of another kind has helped shape Agatha (Susan Auten), the nurse who brings Frankenstein back to health. However, she has
built up a shield from other people, perhaps as a way of not getting hurt by them. Auten successfully portrays this emotional wall with a
determination, in both her looks and actions.

Only one person can see beyond that emotional barrier: her daughter, Lisa. Catherine Seeley fills Lisa with youthful vibrance, appearing
naïve at first but demonstrating that she may know more than everyone else realizes.

Two characters who actually know less than everyone else are James (Kevin Wilson) and Thomas (Joseph Manego). In a lesser play,
they would be constantly acting like nothing other than stock clown characters. Here, however, nothing could be further from the truth.
Both Manego and Wilson skillfully depict fear, crucial in any horror story. Expertly acting out the concerns of most of the audience, both
characters are instantly likable (once again, having characters you care about makes the difference between a good horror tale and a B-
rated production).

One character people will not like is that of the creature. One thing that was a little distracting at first was the size difference between
Frankenstein and his monstrous creation. Jeff Boardman, who must be around 6’5,” actually towered over the creature. Upon further
examination, though, I realized that there is nothing about the monster that should make him huge. After all, he was made from assorted
human body parts, so I quickly shut out any illogical presumptions.

Richard Davis’ portrayal of the monster made me realize how little of a difference immense size made. He gave the creature massive
strength and speed, actually lifting people up and running offstage with them. More sinister than that, though, was the manner in which
Davis spoke and, most importantly, his highly effective animalistic snarl. The snarl alone was enough to make people uneasy (once
again, you’ll understand what I mean when you go see it).

The wardrobe, designed by Agata Zietek (also assistant stage manager), was simple enough to not detract from the characters as well
as maintaining fairly realistic to the time and place(s). Yet, the most enjoyable aspect of the costumes belonged to the outfitting of the
monster. It created a sense that the less you see, the more frightening it becomes.

The same goes for Jacki Booth’s make-up. She had the requisite make-up on all the actors, but the majority of the work went into the
monster. I will not ruin anything by trying to describe what the creature looks like, except to say that I was pleased they steered clear of
any homage or cheap, over-the-top theatrics.

This frightening tale is the perfect answer to Wilmington’s nearly empty Halloween offering. The night I went, there were nowhere near
the number of people who should have been there. Guerilla Theatre is performing perfection, and Wilmington is missing it. Stop coming
up with excuses, and witness one of the town’s best kept secrets. And did I mention that the play is in a bar?