Danny Boyle gives Frankenstein the facelift of a life time.

Tickets sold out faster then you could imagine when word got out that Oscar winner, Danny Boyle was returning to his theatrical roots, by bringing to life the legendry Frankenstein. The National Theatre, known for its show stopping productions like Hamlet and Fela, welcomed to its pool of success a vision of Frankenstein that will leave audiences speechless.

In order to bring the tale of Frankenstein and his Creature to life, Boyle has cast two of Britain’s prized gems, long time friend Jonny Lee Miller and Benedict Cumberbatch. But here’s the twist, Miller and Cumberbatch are set to alternate the roles of Victor Frankenstein and his Creature, for each performance. This simple change is used to emphasises the doppelganger qualities that both Frankenstein and his Creature share and can not escape. It is in this production that Cumberbatch takes the reins of the Creature, finally delivering to audiences the other side of the Frankenstein novel that didn’t make it to the page.

                The play fast forwards past all of Robert Walton’s letters, past all of Frankenstein’s background, and begins front and centre with the birth of the Creature. Now, unlike the movies where the Creature is born on a table and Frankenstein screams “it’s alive“, Boyle has highlighted this idea of artificial birth by having the Creature emerge from an ovular looking set piece. Naked and alone Cumberbatch, barley recognisable with staples across his head, flops to the floor like a fish out of water. Fans will see the Creature like they have never seen it before, as Cumberbatch delivers an outstanding performance as he struggles like a toddler taking his first steps and speaking its first words. Audiences and fans of the book are in for an incredible treat, as writer Nick Dear has given us an insight into the Creature’s cruel experience of the harshness of the world. Dear has brought the Creature centre stage, as he shows the pitiful deterioration of a man born innocent and corrupted by society.

                Cumberbatch’s embodiment of the Creature may remind audiences of another misfortunate character, that of Joseph Merrick, aka ‘The Elephant Man’. Both born into this world, where they were brutally abandoned to chance and forced to develop intelligence in order to survive. Both tragic cases are symbols not of mere deformity, both express the urgent concerns of the emotional effects of parental neglect, a theme just as relevant two-hundred years ago as it is today. A tragic theme where the child is left vulnerable and is forced to gain experience, through the pains of life. Unlike ‘The Elephant Man’, whose misfortune is aided by Anthony Hopkins, Boyle’s creature of misfortune is forced to face the world alone. Boyle directs Cumberbatch to emphasis the inclusive fears of solitude, tapping into one our greatest nightmares, to live a life of loneliness.

                In an interview Cumberbatch said in order to prepare for the role of the Creature, he had researched in the psychological and physical strains of stroke patients attempting to re-train their lifeless limbs. This dedication definitely paid off, for Cumberbatch’s mutilated stance and the struggling chokes that come as he tries to express a simple word, creates such compassion that I felt myself wanting to reach out help him myself. Though extremely pitiful, audiences will react to the humorous innocence of the Creature, as we see him embody a child who has been told “now don’t touch that it’s burny”. We soon discover though that despite how quickly the Creature catches on to naughty language and not to touch fire, he soon learns and develops a sinister streak from the violence he has encountered.

                When Frankenstein enters the stage there is an incredible sense of power delivered by the way he circles this vulnerable element in disgust, and choosing to turn his back on his creation. The frankness of the first scene between Miller and Cumberbatch emphasis the reality of Frankenstein’s desertion, there are no deep emotional descriptions that appear in the novel. The disgust written on Miller’s face, as he preserves this object of is definitely enough to capture the revulsion that Mary Shelley wrote. But already within this brief encounter you can feel the intense chemistry between these two characters, as the angst begins to bubble.

                When Miller graces the stage again, it is among the presence of his family, including the familiar face of Naomi Harris, (last seen in Boyle’s 28 Days Later) as his fiancé Elizabeth. What is unique about Dear’s adaptation of the novel, is that we move away from the first persona narration of Frankenstein, instead we have an more deep insight into the relationship between Frankenstein and Elizabeth. The burden that Frankenstein is carrying can be seen to be literally eating away at that composed exterior, as we watch Miller bring to life the anguish of a man driven to destruction by pride. This anguish can be heard in the rawness of Miller’s voice and seen in the pain in his eyes, as he looks on at his dear Elizabeth, too ashamed to confess his dark secret.

                In Shelley’s version we are shown an arrogant man who is constantly trying to escape his parental responsibilities, Miller is not only able to capture this arrogance, but he brings so much emotion finally allowing Frankenstein’s madness to erupt. For any true fans of Miller, you can see slight echo of previous his characters, which he embodies into his newest role. He almost combines the cockiness of his notorious character Sick Boy, as he boast that “I followed nature into her lair and I stripped her of her secrets”, with his passionate deterioration of Graeme Obree, witling to the floor in the pain of defeat. Though Miller is a diverse actor, perfectly capable of tackling any role thrown his way, it will be interesting to see what he brings to the table when he becomes the Creature.

                With the incredible success of The King’s Speech, there has been an incredible amount of interest in the Voice coaches and how they help the actors in their embodiment of their characters. The intense struggle to articulate words and emotions seen in Cumberbatch’s performance, and the gravelled voice of Miller’s anger, is the stuff of seamless direction from Jeanette Nelson who did the companies voice work. Also for any avid Danny Boyle fans, if you listen closely you will here the electrical energy of Underworld, who provides the haunting score for the play, (you may remember their hit ‘Born Slippy’ from Trainspotting). A perfect cast, a perfect crew, the family of Frankenstein will deliver to audiences a mind blowing play one must see to believe.

Danny Boyle is well known for delivering raw visual masterpieces in films like Slumdog Millionaire, and audiences will be happy to learn that he does not disappoint in Frankenstein. It’s a complete paradox in itself, Frankenstein is beautiful yet disturbing, violent yet sentimental, a story that teetering on the edges of good and evil. This is a play everyone must see, a play that we hit you like an electric shock and will leave you speechless.