"Frankenstein"

November 7, 2021 — It was March 1, 2020 when I last attended a play at the Players' Ring. We had all heard about this COVID-19 epidemic that allegedly originated in China. A few cases had been reported around the world, including in the U.S. But none of us believed at the time this would be a major threat to us, especially in America. How naïve we were!

One and a half years later I've returned to the Ring, a small, rustic theater in a 19th Century brick building in the historic Portsmouth, New Hampshire waterfront. Life is getting somewhat back to normal, with indoor theater performances returning, but with precautions. At the Ring and other theaters, face masks are required and the Ring demands proof of vaccination or a recent negative COVID test.

I was here to see their latest offering, "Frankenstein," adapted and directed by Bretton Reis, not from the many movie productions, none of which are faithful to Mary Wallstonecraft Shelley's original 1818 novel she began in her teens (complete title: Frankenstein or the Modern Prometheus). Of course, there's no way Shelley's sprawling novel can be condensed into a 90-minute play, but Reis concentrated on character development, emotions, love, grief, and yes, madness. That's not to say the play is lacking in horror. More about that in a minute.

The play was reportedly fast-tracked in just six weeks from Reis's creation of the adaptation to rehearsals and live production. It's astonishing such a polished presentation was achieved in such a short time. Much credit has to go to stage management, led by Jessica Michaud, lighting and scenic design by Reis himself, and props and makeup by Ben Bagley. Costumes were by Jen Towle. Don Goettler and Josh Millar did the carpentry. Music selections were by MYUU and Loyalty Freak Music. The Ring extends special thanks to Kathryn and Tim Mone, Katie Juster and PPMTV.

The Players' Ring seats just 75 on three sides of a small square stage below audience level. This is an extremely intimate space shared by actors and audience. The precisely targeted lighting and ominous music, sometimes accompanied by screams, produced gasps from the startled audience many times. When the stage went black, it was really black, completely hiding quick scenery and prop changes.

Michael Onofaro appeared as Victor Frankenstein, with Christian Arnold as his creation, the monster. Their highly charged performances at times nearly crossed the line into camp. That's not a criticism. It was appropriate for this play. Branwyn Ritchie was Victor's love interest, enchanting but her soft voice caused me to miss some of her dialog. Christopher Savage played Alphonse, Victor's father, his effortlessly powerful voice the strongest of the cast. Fifth grader Michael Mone as Victor's younger brother proved to be a seasoned actor for his young age. Griffin Gower handled the dual roles of Waldman and Felix. Jordan Formichelli also played her two parts brilliantly, Agatha and, at the end, the doomed mate created for the monster.

Driving home after dark, I was sure I saw Frankenstein's monster staring at me through the windshield.