first night review: frankenstein @ The lafitte greenway

The NOLA Project's 'Frankenstein' (Photo: Jillian Desirée Oliveras Maldonado)

FIRST NIGHT REVIEW: Frankenstein @ The Lafitte Greenway
Review by Paul Oswell

The comic potential of Mary Shelley’s 1818 novel ‘Frankenstein’ has been heavily mined. Mel Brooks’ and Gene Wilder’s 1974 film ‘Young Frankenstein’ is so beloved that it is many people’s favorite film of all time. So numerous are the spoofs, you’d think you were looking at a literary corpse that’s pretty ripe, and not for new adaptations.

I know this thesis is one that I just suggested, but: you’re wrong. Enter The NOLA Project’s ‘Frankenstein’ (playing through Oct 17th at the Lafitte Greenway), written by Pete McElligott. They have, and yes I’m starting a glaringly obvious line of analysis so brace yourself for an indulgent run-on sentence, stitched together parts of the original and its many interpretations, and jolted new comedic life into this moribund cultural cadaver. It’s…and here comes the unforgivably predictable pay-off…alive. 

The Gothic world building around a bare concrete warehouse is instantly immersive thanks to the cast’s skillful character work. Back that up with Leslie Claverie’s razor-sharp direction and a script that’s as taut as a virtuoso skin graft and you’re in for quite a ride. If you saw last year’s ‘Dracula’ (also penned by McElligott), you’ll love both the tonal similarity and the cast’s astonishing theatrical dexterity, whisking through multiple roles at breakneck speed.

We open aboard a ship in the eerie Arctic seas (where Shelley's novel ends), and a beleaguered Victor Frankenstein (played with glorious scheming idiocy by Keith Claverie) has been rescued by a spooked collection of seafarers. The suave but seedy Captain Walton (Matthew Thompson pompously lording it on deck) wants to know more. "You wish to know my whole life story?" asks Frankenstein. "No. No. I don't think we have time for that...", but it’s too late, and with the first of many, many laughs, we’re spirited back to Victor’s childhood. 

The first half is a hailstorm of gags that come at you from all angles. Victor’s love for his adopted sibling Elizabeth (an adorably bratty Keyara Milliner) develops alongside his reanimation obsession. In college, his professor (one of a host of James Bartelle’s incredible weirdos in this show) inspires him to conquer death via an amazing extended riff on homeopathic medicine. 

Characters and plot points come thick and fast. Godrick the sexy graverobber (Noah Hazzard oozing seductive silliness), Victors’ fully mature ten-year old brother (Thompson again, stealing every scene he’s in with costume designer Jazzmyne Cry’s incredible visual), a suspiciously ardent cop (a pitch-perfect Kristin Witt), a dancing medium, and a cheeky postal worker (J’aiLa Christina dynamically nailing both) all pinball around the venue. 

Khiry Armstead’s (sound) and Adachi Pimentel’s (lighting) designs keep things engagingly atmospheric, and some fantastic human shadow puppetry against a hung sheet (among other deft touches) speaks to the talents of Lucas Harm’s production design.

Breaths caught in the interval, the second half introduces the creature, but don’t expect any clichéd neck bolts. Michael Aaron Santos brilliantly melds slapstick brutishness and humanity with genuine pathos. The source material is treated with refreshing fidelity, but it’s interpreted so imaginatively; see for instance the ingenious workaround that directs the creature’s learning. The joke rate is still frantic, but the climactic confrontation threads compassion into the comedy: “We are our own creations” becomes a poignant refrain. 

No joke set up is left hanging, the callbacks are flawless, and every supporting character (too many to individually admire here but see 'Extras', below, for added info) adds to the anarchic hilarity. Even a passing bike tour blasting music was seamlessly folded into the performance. Frankenstein is a triumph for cast, director, writer and crew. There’s a huge heart beating beneath this riotously funny monster of a show. 

The NOLA Project's 'Frankenstein' plays at the Lafitte Greenway through October 17th. Click here for more information and ticketing
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EXTRAS

There's a lot of moving parts in this show, and I could have written twice as many words, but here's a few extra thoughts in case you're interested (no spoilers, I don't think): 
- Alex Martinez Wallace has done an amazing job with the fight choreography.
- Noah Hazzard plays live music on stage amid all the chaos, and it's impressive! 
- The characters that only come in for a scene or two (including the skeevy guy, the passive-aggressive couple, Father Walton, the concerned parents, the Eurotrash serial killers, etc) are so well thought-out and performed, set up great jokes, and not a single line or character feels superfluous or indulgent.
​- Michael Aaron Santos' switching between monster and human modes of speaking as he occasionally breaks the fourth wall is the best kind of comedic whiplash
- Shout out to production manager Tova Steele and stage managers Sara Clawson and Josef Pons (Asst.) on what must have been a challenging process, expertly handled
- Olivia Winters' props also held the world building together wonderfully.