THEATRE REVIEW: Frankenstein - The Contact Theatre, Manchester.

This production, wowzers! BAC, BeatBox Academy presented us, the audience, with something truly exceptional. A cast of six performers retelling the Mary Shelley’s classic ‘Frankenstein’. The themes of the novel were brought to life in an electrifying gig-theatre performance that had the audience raving in their seats.

The show is already an Off West End Award winner, with one of its performers ABH Beatbox the current UK beatboxing champion, the talent of this ensemble was hugely impressive with a mix of voices and characters that filled the stage and whose energy resonated throughout the theatre.

AMINITA (Aminita Francis), GLITCH (Nadine Rose Johnson), WIZ-RD (Tyler Worthington), ABH (Alex Hackett), NATIVE (Nathaniel Forder-Staple) and AZIZA (Aziza Amari Brown) made the cast of 'Frankenstein', a strong ensemble, each bringing bags of charisma and varied vocal talents. Kate Donnachie had taken the audience through the first three simple sounds of beatboxing, which had us tripping over our own tongues within seconds, to then marvel at the artistry the above six performers had over their own vocal capabilities gave a new level of appreciation for the complexity of beatboxing performance. 

The audience were encouraged to use their mobile cameras, to take pics, live steam, but then many of the songs pulled apart and examined what effect examining the world through a lens and screen is having on us; our want for approval and likes, want of connection, validation of our human experiences. I greatly admired this device and thought it very evocative. This related to the themes of the novel Frankenstein in a way that really made the story relatable to a modern audience. What is it that makes people act out and become their worst? Maybe because they crack under the pressure of trying to live up to expectations created from comparing theirselves to others' perfected internet personas.

My personal highlight was the song including the lyric ‘#hideous’ as the cast teased the audience while shining a spotlight on individuals in their seats. There was strong comic relief, even though the act of spotlighting audience members and insulting them could have been an aggressive act, the energy and upbeat delivery had the audience laughing and cheering.

Sherry Coenen’s lighting design was superb throughout. Bare light bulbs suspended came out over audience, their stylised filaments were reminiscent of 19th century gothic design. The effect of them coming out over the front few rows of the audience gave a feeling of connectedness with the stage. The use of deep colours backlighting the performers' extenuated shapes as they created monstrous forms. It really had the feel of a gig, but then at times was simplistic and lit the stage to compliment the ensemble cast performing more theatrical scenes.

The show opened by supporting local community artistes by bringing them on stage and sharing short pieces they had created. Kate Donnachie directed the opening acts and gave her best workshop leader energy to a whole auditorium. To conclude the show Donnachie orchestrated the rap battle and a new improvised ensemble piece which involved the audience beatboxing. A special note of appreciation for her ability to conduct and be extremely engaging with an audience, a bundle of joyous energy and talent.

Directors Conrad Murray & David Cumming have created the opposite of something monstrous; a show that connects its audience with one another whilst they rave in their seats. This is a must-see for any theatregoer, I can guarantee you will enjoy.

Reviewer - Kerry Ely
on - 10.5.22