Dark Shadows Loom Largely in a Reimagining of Mary Shelley’s Frankenstein at the Shakespeare Theatre Company
Frankenstein
Shakespeare Theatre Company
Jordan Wright
May 31, 2025
Rebecca S’manga Frank (Elizabeth), Anna Takayo (Justine), and Nick Westrate (Victor) in Frankenstein at Shakespeare Theatre Company. (Photo/DJ Corey Photography)
“The truth is I have never felt the safety of unconditional love,” is a curious statement projected in surtitles from a disembodied voice. It seems to reflect the curious sentiments of Victor, a young scientist from a prestigious Swiss family and future fiancé of Elizabeth, his adopted sister – a complicated relationship at best.
In short order we learn a child is missing – Victor’s little brother, William. The maid, Christine, has found him murdered in his room by who knows who. If you’ve seen the movie or read the book, you already do. But in this household, there is great speculation, and the finger of suspicion is pointed directly at the maid, Justine, who found the boy and soon confesses under duress. When Victor tells Elizabeth he will claim he and Justine had an affair and that she has lied to protect his reputation, Elizabeth’s Spidey-sense tells him, “You’re hiding something.” And we’re off to the races. He claims he’ll tell her everything soon, but this play is a series of his fabrications and falsehoods as he gaslights Elizabeth at every turn. You, too, may weary of all the gaslighting, especially since Elizabeth is no slouch. She’s equally sarcastic and parries his lies with snappy comebacks. And, although his fiancée constantly challenges his lofty excuses, she caves to his conniving explanations. It’s puzzling since she’s read him from the get-go.
His confounding explanation as to why, after they had announced their engagement, he disappeared for six years with little word, was he had a “fever” while at university. In truth, he was building his creature, though he tells her it was just a guy he met who needed food and a place to stay, and that he was merely being charitable, but now “the guy’s” entire extended family is seeking revenge, and Victor insists they need to run for their lives. There is dark humor in this reimagining of the classic. You just never know when it will appear.
Nick Westrate (Victor) and Rebecca S’manga Frank (Elizabeth). (Photos/DJ Corey Photography)
Surtitles explain that Victor feels unloved and insecure. Or is it the creature talking? Hmmm… could it be one and the same? “I’ve lost faith in you,” she tells him before a passionate kiss – an unusual response after calling him out on the carpet. Throughout the play, Victor provides endless bizarre excuses for his madness and unconscionable behavior to his future wife. He is the consummate narcissist. At this point we can readily predict Elizabeth’s capitulating responses whenever he questions her love. But, hey, that’s our co-dependent whip-smart Elizabeth who just can’t seem to leave his devious clutches. To add to the confusion, the script is written in modern vernacular and current slang words. It’s confusing, as the set design is decidedly Victorian and they are dressed in Victorian era clothing.
The lighting is suggestively moody and storms presage the unexplained disappearances of humans, but it’s not until Act II that we finally meet the Creature, handsome and swarthy and sporting a mink coat. “You have made me your fallen angel,” he accuses Victor. At this point we’ve given up listening to Victor’s countless explanations for his psychosis or the Creature’s insistence on the mad scientist’s culpability. “He built me!” he announces. But we already knew that.
No complaints about this terrific cast’s ability to navigate the script. If you’re a fan of the 1960’s TV series Gothic soap opera or its 1990’s remake, “Dark Shadows”, this is one is right up your alley.
Rebecca S’manga Frank (Elizabeth) and Nick Westrate (Victor). (Photo/DJ Corey Photography)
Nick Westrate as Victor; Rebecca S’manga Frank as Elizabeth; Anna Takayo as Justine/Esther/Voice of Caroline and Young Victor; Lucas Iverson as Creature.
Written and Directed by Emily Burns based on the novel by Mary Shelley; Scenic Design by Andrew Boyce; Costume Design by Kaye Voyce; Lighting Design by Neil Austin; Sound Design/Composition by André Pluess; Projection Design by Elizabeth Barrett; Dramaturgy by Drew Lichtenberg; Wig & Hair Design by Satellite Wigs, Inc.; Intimacy Consultant Sierra Young.
Through June 29th at the Michael R. Klein Theatre, 450 7th Street, NW, Washington, DC 20004. For tickets and information call the box office at 202.547.1122 or visit www.ShakespeareTheatre.org.