MSU’s ‘Frankenstein’ is a lengthy, full-course meal of horror

There are many versions of the story where a man uses electricity to bring the dead back to life. What I’ll remember most about Michigan State University’s Department of Theatre’s “Frankenstein,” is after two and a half hours of torturous storytelling, I felt I needed an electrical jolt.

The Quinn Mattfeld adaptation of Mary Shelley’s “Frankenstein” is closer to the original in many ways than any of the familiar movies it inspired. Which is both admirable and excruciating. 

Although Shelley’s 1818 novel is only 280 pages, it covers extensive narratives as well as gruesome deaths and travels that are easier to condense on a page than a stage.  Although Mattfeld includes many original facets, his “Frankenstein” is in need of editing.  A rapid reader could probably finish Shelley’s entire book during the play’s running time and intermission.

Ryan Patrick Welsh’s direction includes hurried speech, a realistic neck breaking and lots of authentic screaming. What’s missing is any use of electricity. The pacing varies from hectic to mind numbing.

Welsh does a good job of guiding a sturdy, eight-piece ensemble through various character changes and appearances through multiple entrances and exits. His clever choice to add some gender swapping for main characters is a fun surprise. 

The blind character that teaches the beast to speak and read is female. Cassie Verral plays De Lacey, an older lady who secretly educates the beast, who only grunts, yells and moans through much of Act One. 

Abbie Cathcart plays a not-tall, cat-like, female Creature. When Frankenstein creates her companion, it is also a female — as traditionally depicted. 

Without drastic facial makeup or prosthetic enhancements, Cathcart projects the image and agony of a not-quite-human being. Cameron Michael Chase convincingly portrays the tormented and extraordinary Victor Frankenstein. They both spend much of the play ranting and making sure their afflictions are obvious.

Darah Donaher as the faithful Elizabeth and Marshall Ross as the loyal friend, Henry, also stand out in the play, which ends with many no longer standing.

The visual and auditory elements of this not-for-kids “Frankenstein” are exceptional.  Michael Gault’s three-level set is hauntingly majestic. Rachel Lauren’s stage lighting is marvelous. Jason Painter Price’s sound effects add an authentic eeriness. 

Props by Brandon Barker, elaborate costumes by Ketura Le’ Audrey and hair-dos by Chantel Booker seem true to the 1800s. Their handiwork adds class and prestige.

“Frankenstein” has repeated Shakespeare references. His works are used as the book that connects Frankenstein with his fiancé, and to teach the Creature.  As the “Frankenstein” play unfolds to resemble one of the Bard’s tragedies — with similar expressions of torment, isolation, and betrayal — the irony becomes obvious.

Since Shakespeare’s unedited, wordy classics run three hours or more, methinks, perhaps I doth protest too much. But after witnessing a significant portion of the audience leave before “Frankenstein” was over, perhaps ‘twas not only I who was o’er wrought.

Frankenstein

Wednesday, Oct. 16 - Sunday, Oct. 20

Varying times

$17 general, $15 seniors and faculty, $12 MSU students

Wharton Center for Performing Arts Pasant Theatre

www.whartoncenter.com 1-800-Wharton