The Patriot Ledger, Tuesday, October 19, 1999

'Frankenstein' will put you in an eerie spirit of Halloween

By ELLEN Brams
For The Patriot Ledger

The Stanley B. Theater has always lived up to the challenges it creates and it's production of "Frankenstein" is no exception.

Victor Gialanella has adapted the classic novel which was written in 1818 by Mary Wollstonecraft Shelley, wife of the English poet Percy Shelley.

Thanks to many hands, none of the chilling dramatic effect of the period piece is lost. In fact, it's more dramatic than ever, with Shirley Guerreiro's eerie organ music an Liz Orenstein's lighting design, which includes intermittent strobes augmented by rolling "thunder".

Riverside Theater Works in Hyde Park has cabaret seating and director Jason Slavick wisely chose to stage the production in the widened “aisle” where the endless mystery and drama unfold superbly.

Set designer Lee Savage aptly depicted the electricity-charged laboratory with small tasteful effective period pieces which were easily set and moved swiftly to maintain pacing and move the storyline.

Costume designer Ron Cesario did a wonderful job with detailed, eye-catching period garb; makeup artist Jack Wickwire assisted by Selley Carr, really worked wonders transforming Bruce Serafin into The Creature, whose contrived countenance could strike fear into anyone, even before we get to witness his power and rage.

The bizarre intriguing promise of the well-known tale is that a respected research scientist. Dr. Victor Frankenstein, combines knowledge and intellectual curiosity to attempt to reconstruct human life from a compiliation of body parts provided by grave robbers (for a fee).

His secretive trials, which involve high voltage electrical shock, are unknown to his father, Alphonse; his sweet fiancee, Elizabeth; his young brother, William; and to the loving resident nanny, Justine.

When Elizabeth is concerned about Victor's endless hours in his secluded lab, plus his moods swings and personality changes, she summons Victor's university friend Henry Clerval to help him “recover.”

Of coursf thi? is without ever knowing that Clerval naively helps Frankenstein achieve his dream and The Creature, a hideous, frightening hulk without prior memory of life and conscience, is "born" wreaking havoc in its search for a "companion."

The ultimate irorny is that by giving The Creature another chance at life, death is systematically meted out by The Creature until all Frankenstein's loves are dead. Power without conscience corrupts and these two are locked inextricably in a life or death dance for survival.

The power of this production, based upon the talent and chemistry of the cast, provides positive entertainment for audiences and far supercedes the tragedy of the tale.

Besides moral issues of conscience and the everchanging transfer of power, there is a battle of brain versus enraged brawn. Dennis Strahan as Victor Frankenstein convincingly postures himself as the superior intellect, tender with family, courteous with friends and increasingly driven to complete, unthinkable recreation of new life.

Increasingly frightened about being found out and eventually terrified at his Creature’s power and unpredictability, Strahan gradually cranks up the power and speed of his desperate measures in just the same way The Creature evolves from gentle giant to destructive force.

Strahan’s emotional evolution is every bit as striking and powerful as The Creature’s brute force murders. Strahan makes the point chillingly real that circumstances can drive the most reasonable, intellectual, scientific of men to distraction and ultimate destruction.

With steely eyes, pacing and wringing hands, Strahan turns in an intense, riveting performance.

The other half of this duo is Bruce Serafin as The Creature. From the moment he quakes his way into life until the final showdown with Frankenstein, Serafin transforms from a grotesque but meek Creature in search of knowledge and self-actualization to an enraged, desperate creature, shinned by others and in search of revenge for his loneliness and lack of acceptance.

Strong supporting performances are certainly noteworthy. Brad Pickett as a fellow scientist and Frankenstein’s friend Henry Clerval, clearly demonstrates the anguish of wanting badly to help Frankenstein but fearing the consequences of doing so.

Pickett was touching and very believable. Melissa Prusinski as Frankenstein’s fiancée Elizabeth was sweet, trusting and ultimately terrified amid her impending marriage. Playing perfect counterpoint to the driven, secretive, brooding Frankenstein, she is very well received.

In a sweet and unexpected surprise, Colleen Kelley is a truly precocious scene stealer as the loving and spirited nanny of Frankenstein’s little brother William. Kelley is natural and joyous, a captivating delight. Nine-year-old Frankie Allegro, a four-year veteran of theater, was totally endearing as the innocent boy who is happy and helpless and the unsuspecting friend of The Creature. In childlike openness he looks beyond the physical and is unaware of the danger.

Double credit goes to Bob Casey who depicts both Frankenstein’s dignified dad Alphonse and a kindly, folksy and wise blind drifter who befriends The Creature.

Seeley Carr as family friend Frau Mueller is genuine and pleasing and stage husband Lionel, played by John Henry Flood, is duly pompous and proper. Rounding out a strong cast are a pair of mercenary grave robbers otherwise knows as Ed Regal and Anthony Byrne.

The Stanley B.’s “Frankenstein” is chilling and thrilling – a perfect introduction to Halloween or to a powerful and entertaining night of theater.