October 31, 2007

I Was a Pre-Teen Frankenstein

A true story.

I grew up in the tough, blue-collar East End of Montreal. Back in the late 50s, when I was 8 or 10 years old, us kids owned the back alleys. The gravel backyards and the firetrap wood and corrugated steel sheds were our playground. One of our favorite spots was an old wooden garage, formerly a stable, with a rickety staircase that led to a wonderful low-ceilinged loft. That dark, dusty structure was our King Arthur castle where the Crusades were fought on summer weekdays. It was our frontier fort to attack or defend, depending on whether you were a cowboy or an indian that day. It was our Legionnaire’s stronghold, our haunted house and, of course, Frankenstein’s mountaintop lab.

One memorable afternoon, early autumn, one of the guys brought over a paper bag. It contained something that belonged to his older, teenage brother, the one with the ducktail and the cigarette pack rolled into his shirtsleeve. He had us swear up and down that we would never tell that he had brought out this treasure, on account that his brother would kill him for messing with his stuff.

We made a solemn oath of eternal silence, and my friend, satisfied, opened the bag and changed my life.

It was a homemade, papier-mache mask of the Frankenstein Monster from I Was a Teenage Frankenstein. His teen brother had seen the film and, impressed and enthusiastic, had come home and built himself a replica, luridly painted in yellows and greens, complete with a bulging, bloodshot, baseball-sized eyeball.

I thought it was the coolest thing I had ever seen. We all did. We were awed.

The mask was passed around and handled reverently, like a sacred object. It was a heavy, full-face mask, half-an-inch thick, with a leather strap glued in so you could wear it, and chunks of sponge inside to protect your face. Each kid, in turn, got to try it on, and the moment it was attached to someone’s head, a single sparkling eye gazing at us from a narrow slit, the Frankenstein face came alive. Each kid, in turn, moved his head and growled, and suddenly, the Monster was among us.

When my turn came, my heart was pounding. I raised the mask to my face, someone tightened the strap. It was heavy and scratchy, and I could hear myself breathe inside the mask. I looked out through the one eyehole, and all my friends went “Ooooh!”. I moved my head and let out a low, menacing moan, and they all went “Aaaah!”.

The mask went to the next kid, and again we all reacted to it. When we were all done, the mask went back into the paper bag, and our friend raced home to stow it away before its disappearance was noted.

I thought about that mask a lot. I would have killed to have it. I suppose it rotted away, forgotten in it’s brown paper bag, eventually to be thrown out with all the useless junk of childhood.

I never looked at my friend’s teen brother the same way again. I thought of him forever after as an artist, a genius of sorts. He never knew, but I always felt that he had taught me something important: You Can Make Your Own.

I dug through Famous Monsters magazine for monster makeup tips. I mail-ordered the Dick Smith’s monster makeup one-shot from Warren’s Captain Company. I was soon experimenting with plasticine, thick liquid latex and plaster. I learned how to use collodion for scars and mummy wrinkles. And so on, like all the Monster Kids of the 50s and 60s, growing up on Shock Theater and Aurora Monster Kits.

If my boyhood pals read this, I hope they don’t mind my spilling the big secret. I hope my friend from back then — where are you know? — doesn’t get into trouble with his older brother, after all these years, for messing with his stuff.

For me, it was a magical moment. I had been inducted into the Secret Brotherhood of Monsters, there in our secret hideout. The day I Was a Pre-Teen Frankenstein.

Happy Halloween, everyone.


October 30, 2007

The Make-Up Man : Jack Pierce


The classic, flat-top Frankenstein Monster is an icon of the 20th Century. The concept, up to a point, was collaborative. The original director attached to the Frankenstein project, Robert Florey, claimed he suggested the Monster’s neck bolts. Actor Boris Karloff, it is said, came up with the Monster’s droopy eyelids, and clearly contributed a sunken cheek by vitue of removing a dental bridge. In the film Gods and Monsters, director James Whale is wholly credited with the concept, that much is fiction, yet Whale — who always seemed to know exactly what he wanted — must have provided some input.

When all is said, the full credit for the creation of the classic Frankenstein image belongs squarely and indisputably with Universal’s head makeup-up artist, Jack Pierce.

No doubt the makeup was adjusted and tweaked as suggested and subject to approval from on high, but it is clear the impetus was Pierce’s. He proposed, negotiated, and experimented. Pierce produced numerous drawings, carved clay models and eventually worked with an ever-patient Boris Karloff, building and refining the makeup on the actor’s face. An early test photo exists of Karloff wearing a rougher version of the Frankenstein head, with curious “clamped horns” growing out of the forehead.

The final result was, of course, extraordinary. Even today, after almost 80 years of ubiquity, transformation and parody, it is still unlike anything else. It is still extraordinary.

Jack Pierce also created The Wolfman, The Mummy (an amazing head-to-toe makeup job), he gave Lugosi’s Dracula a widow’s peak. He designed and created countless other monsters and grubby assistants for Universal’s monster movies, in addition to his work glamourizing Universal’s stars and painting rosy cheeks on Deanna Durbin.

It is often said that Jack Pierce was cranky and authoritarian. Pictures of Pierce concentrating on his work suggest that dour side, but there are also pictures of the man smiling broadly, even goofing around, especially when posing with Karloff. It is clear that the two men respected and liked each other very much.

Jack Pierce’s personal scrapbook of studio photos has been dismantled and is currently being sold piecemeal at auction through Heritage Auction Galleries. The site carries superb, highly detailed photographs that include candid shots of Pierce at work (in one picture, he’s standing on a phone book to trim Karloff’s mustache) and many precious, previously unseen shots of test makeup from The Old Dark House, The Werewolf of London, and a surprising Mummy dummy stand-in.

I suggest you hightail over and look now. The pictures will be gone after the auction is done.

(Via The Classic Horror Film Board)


October 29, 2007

The Challenge of Frankenstein


The great Frankenstein and The Flower Girl drawing above is by Matt Jones. Check his blog, Matt has posted his sketches, giving us a rare and fascinating “making of” glimpse into his creative process.

The drawing was made for the Gum or Mints art-challenge blog where some very talented artists meet. Halloween coming up, the appropriate theme for the month was Frankenstein and there are some truly outstanding pieces to be seen there, using various media. Among others, there’s a great 3-D piece by Jim Valeri, and some striking photo-collages by “The Butcher” (and more to see in that style on his delightful blog).

Especially noteworthy is Matt Cruickshank’s stark black and white storytelling approach, which I plan to revisit soon as I get some extra info from the artist. There are the makings of a singular graphic novel here.

The splendid Frankenstein cartoon at left is by Dan Thompson, whose personal blog is also a knockout.

Don't miss the Gums or Mints Frankenstein challenge. It's a trick AND a treat!


October 28, 2007

Friend?


I just couldn’t post without putting up a picture, so here’s a scrumptious poster from the 1946 French release 1935’s Bride of Frankenstein, from the collection of the ever-generous Jean-Claude Michel.

Frankensteinia has been online for a shade over two months now. 64 posts later, I feel like I’m just getting started. I’m having a ball. I made a lot of new friends over these few weeks and I’m grateful for all the visits, over 4000 so far and — gulp! — growing fast. There were over 900 visitors this week alone thanks, in no small part, to all the Halloween Countdown sites for listing Frankensteinia. I also got an unexpected and very appreciated boost from some very nice people over the last few days…

Harris Smith at Negative Pleasure gave Frankensteinia a nice write-up — thanks for the kind words! — and thanks also to Matt Jones for a nice plug (and check out his Frankenstein art!).

Ray Young at Flickhead is using one of my Bride of Frankenstein screencaps as his Halloween banner. I’m honored!

The so-talented-it’s-disgusting people at Chaoskitty (click the portfolio, check out the Gorey game) have listed Frankensteinia on this week’s web zen. I’m verklempt!

And then Richard Harland Smith, whose blog at TCM’s Movie Morlocks is indispensable reading, has gone and featured Frankensteinia as the “first stop” in his list of favorite blogs. Yikes! I’m in freakin’ orbit!

Oh, and by the way, I’ve been insanely busy over the last two weeks. I’ve been on a book tour for a graphic novel I co-wrote with artist Real Godbout called Red Ketchup: La vie en rouge (“Life in Red”). If you want to practice your French, check La Pasteque, my publisher’s website. To everyone who has written me or posted comments here over the last week, my apologies, I was away and barely able to keep up with the blog. I’m catching up now and will be replying to everyone over the next few days.

Thanks again, all, for the support! And stick around, I’ve got some real goodies coming right up!


October 26, 2007

You, Frankenstein!


This one is sorta special for me. This comic book was my first introduction to Frankenstein. I was very young, a pre-schooler when, somehow, I got my hands on a copy of Atlas Comics’ Menace #7, from 1953. I remember The Monster looking in at the window and breaking into the house. It scared the living daylights out of me. My Mom saved me. She took the comic away, made it disappear. But I was hooked. I thought about that story, the first one that ever scared me. I tried to imagine how it ended. Not long after, when I was 6 years old, I saw Boris Karloff’s Frankenstein, and I was on my way.

Your Name is Frankenstein was written by a young Stan Lee a decade before he created Spiderman and the Marvel Universe, along with Jack Kirby, Steve Ditko and others. It is as simple as it gets, a straightforward “you are the monster” type of story that Lee and countless other comic book writers hacked out back in the heyday of the horror comics. Reverse the situation, tell the story from the alien’s viewpoint. Put the reader in the killer’s shoes. The Frankenstein story works because we already have sympathy for The Monster. We remember that he drowned the little girl by accident, we know that he is shunned, miserable and misunderstood. The art, by Joe Maneely, is as up front and clear-cut as the story, nothing fancy, just straight up and effective.

Your Name is Frankenstein appears in its entirety, here, on Karswell’s The Horrors of It All, a blog devoted to classic 50’s pre-code horror comics. It’s a terrific place to visit and to discover a wealth of classic horror strips reproduced in all their crude, four-color glory.

There’s another Frankenstein story on the site, Battle of the Monsters, from 1952 (image at left) that is a fun read, but its profound silliness only highlights how good the Lee-Maneely Frankenstein is. And earlier this week, Karswell posted a superbly creepy Dick Briefer Frankenstein episode, The Beautiful Dead, that tops everything.

So go visit The Horrors of It All, put yourself in The Monster’s big boots and read Your Name is Frankenstein. And have your Mom nearby in case you get scared.


October 25, 2007

Free Frankenstein Halloween Mask

Daniel M. Davis is a Phoenix-based artist and indie publisher whose kid-friendly monster books include After Halloween, Caught Creatures and Klaw Berry. His Steam Crow Press website is a happy place stuffed with Davis’ terrific art and lots of info for artists and self-publishers, not to mention essential Monster Hunting tips! The “Inspiring People” links alone are a great resource for cartoonists or anyone who enjoys top-drawer illustration.

Davis’ wonderful Frankenstein Mask (his name is Yowl!) is a simple, safe, cutout mask available as a free pdf download. And check under “freebies” for goodies like wallpapers and more masks, including Dr. Vampiro, a mash of The Creature from the Black Lagoon and Nosferatu!

(via Drawn)


By the way, you can still download the striking Karloff-like Frankenstein Mask from Burg Frankenstein. Bit of a job to put this one together, but it’s a knockout.


Now print 'em up, punch 'em out, put 'em on, and go scare up some treats on Halloween!




October 23, 2007

Frankensteinian : Eyes Without a Face


Admittedly, this face transplant horror film is only tenuously Frankensteinian, but bear with me…

This week, two of my favorite bloggers, Tim Lucas and Arbogast, honored actress Edith Scob on the occasion of her 70th birthday. Scob is the ethereal, faceless girl who drifts through Les yeux sans visage (Eyes Without a Face) like a lonesome ghost, gazing out from behind her perfect porcelain mask with sad, unforgettable eyes.

Director George Franju’s celebrated 1949 slaughterhouse documentary, Blood of the Beasts, heralded the clinical horrors of Eyes Without a Face. Known in the US as The Horror Chamber of Dr. Faustus, the film was magnificently photographed by legendary cinematographer and inventor Eugen Schufftan.

Edith Scob’s fantasy film credentials include appearances in Judex (1963), Gaston Leroux’ La poupée sanglante (1976), Vidocq (2000) and Le pacte des loups (Brotherhood of the Wolf, 2002). I previously mentioned Scob here in my discussion of Jean-Claude Carrière’s Frankenstein novels, referring to her appearance in 2003 at the Pompidou Center in Paris where she read excerpts from French horror pulps.

In addition to his short but touching tribute to Scob, whom he calls “Our Lady of the Fantastique”, Tim Lucas posted a comment to Arbogast’s tribute. Here’s a quote by Lucas that needs to be shared:

“I feel she gives the genre's greatest female performance… steeped in body language and pathos and wonderment as anything Karloff did in FRANKENSTEIN. She is one of the genre's iconic figures.”


Beautifully said. Perhaps the Frankenstein connection is not so superficial after all.



October 21, 2007

Happy 125th, Bela Lugosi


This weekend, October 20 was Bela Lugosi’s 125th birthday.

In 1931, Bela Lugosi became an instant sensation upon the release of Dracula, the film that ignited the first golden age of horror films. Universal Studios quickly followed up with a plan to shoot Frankenstein, featuring their newly minted star. Lugosi's name appeared on a preview poster for the film. A notorious, now lost screen test was made, and then everything fell apart.

One story goes that Lugosi stubbornly refused to play the part of The Monster because of no dialog and too much makeup. Another version has Universal chief Carl Laemmle laughing at Lugosi’s appearance and shelving the project, at least until James Whale stepped in, retooled the script and shot it with Boris Karloff.

In 1939, Lugosi appeared in the third Frankenstein outing, Son of Frankenstein, as the broken-necked Ygor, and pretty much stole the film right out from under Boris Karloff and Basil Rathbone. Returning in 1942’s The Ghost of Frankenstein, this time with Lon Chaney, Jr. as The Monster, Lugosi’s Ygor, in the final scene, had his brains inserted in the Monster’s skull, with catastrophic results: The re-brained Monster was now blind!


In 1943, Lugosi finally accepted the part that had eluded him twelve years earlier when he donned the heavy monster makeup for Frankenstein Meets The Wolfman. It made sense: Ygor’s brains were now inside The Monster’s square head, and Lugosi was able to speak The Monster’s dialog with Ygor’s accent. The part was difficult for the frail actor and he is doubled by stuntmen, often obviously, in several scenes. The final ignominy came when, prior to release, Universal yanked all of The Monster’s speaking scenes. Curiously, Lugosi’s stiff-arm groping, meant to indicate The Monster’s blindness, now unmentioned in the film, became the standard Frankenstein Monster robot walk.

Lugosi played opposite The Monster one more time, as Dracula, commanding Glenn Strange is Abbott and Costello Meet Frankenstein, in 1948.

Frankenstein may have been a footnote and an irritant in Lugosi’s career, but Bela made several contributions to the myth, and he made The Monster come alive in many ways.

The cover illustration above was designed and colorized by Joe Schovitz for Jim Clatterbaugh’s superlative Monsters From The Vault magazine. That issue, #22, is still available directly from the publisher.


October 20, 2007

Frankenstein Meets Vampirella

A pop culture Pieta: The classic Frankenstein Monster and comic book horror heroine Vampirella, by Kevin Nowlan.

I love Nowlan’s work. He is a true virtuoso, an artist’s artist with a style that is super-slick but never cold. His characters have, well, character. His superheroes have real faces. They frown, they glare and they move realistically, even in flight or doing other impossible superhero things. They have weight and presence.

The black and white illustration is a portrait of Marvel Comic’s Frankenstein Monster. The Frankenstein and Vampirella illustration is a sketch piece. See it in full uncropped glory here.

Kevin Nowlan’s simple website features wonderful portraits and comic covers, and there’s yet more to enjoy on Comic Art Community. A book, Modern Masters Volume 4: Kevin Nowlan, is still available from TwoMorrows Publishing.


October 18, 2007

Off With The Kites!

This is post is part of the Close-Up Blogathon run by Matt Zoller Seitz at The House Next Door.

Colin Clive, aureoled by a huge, glowing vacuum tube, calls for the kites to be released, and the raising of The Bride begins.

I had not planned on doing another Close-Up post, but stepping through Bride of Frankenstein’s creation sequence this week, I was transfixed by the gorgeous images.

Director James Whale made the best of a rare chance to revisit and improve upon the creation scene from the original picture. The lab has been upgraded, the crackling super-science machinery multiplied and augmented with extra gizmos. Broom handle switches are thrown with a deafening bang, a flash of magnesium and a shower of sparks. Go look: Shahn over at Six Martinis and the Seventh Art has posted screencaps showing some of the white-hot flares and the washed out, ghostly afterimages that punctuate the action.

The genius of the sequence is its busy, vertiginous montage, quick-cutting between weird angle shots of the intense scientists, their frenetic topside helpers, the forbidding mechanical devices, and the slab rushing upwards to meet the lightning, all of it backed by a musical soundtrack that pulsates like a heartbeat. The Bride’s creation sequence, edited by Whale and Ted Kent, would merit as close and careful an analysis as, say, the shower scene in Psycho.

I have isolated a handful of shots, all close-ups of the principals in the creation scene…

In a brief, unsettling moment, shadows transform half of Clive’s face into a death’s head skull.

Ernest Thesiger, rattled by electrical detonations, registers fear.


Stark lighting transforms Clive and Thesiger’s faces into grotesque masks, eyes punched out.



Skull clamps glistening in the torchlight, the impatient Monster (Boris Karloff) cranes to see his promised Bride cradled high overhead, waiting for the lightning to blast her to life.


Thesiger’s Pretorius, momentarily robbed of his frigid, pompous composure, creeps out in grimacing rapture as The Bride comes alive.


My other Close-Up Blogathon posts:

The Monster is introduced Into The Light.

The Short, Apocalyptic Life of The Bride of Frankenstein.


October 16, 2007

The Short, Apocalyptic Life of The Bride of Frankenstein


This is my second contribution to the Close-up Blogathon run by Matt Zoller Seitz at The House Next Door.


In terms of technique, James Whale’s Frankenstein (1931) is sometimes crude. Its canvas night skies droop; a microphone throws a shadow across the scene at the dungeon door where Frankenstein and Waldman prepare to ambush The Monster. Four years later, Whale traded the original’s raw, claustrophobic expressionism for lavish Hollywood Golden Age glamour.

Bride of Frankenstein (1935) is awash is pearly grays and deep focus photography. The sets have grown cavernous and meticulously detailed. Heroic music punctuates every scene. Colin Clive is at his manic-depressive best and he gets to interact with the formidable Ernest Thesiger as the most eccentric, eldritch mad scientist of them all. The Monster has lost his malevolent gauntness. He speaks, cultivates a taste for wine and cigars, sheds tears, and pines for a friend.

Into this heady mix is introduced The Bride, only to signal a quick, catastrophic end to this macabre fairy tale.


The story goes that iconic actresses like Brigitte Helm and Louise Brooks were considered for the role. In the end, it fell, magnificently, to Elsa Lanchester, who also played Mary Shelley in the film’s prologue, connecting Mary and The Bride. The comparison is made clear and unmistakable: In the opening sequence, a delicate Mary reaches for her beloved Percy, turning her back to the obnoxious Lord Byron, a balletic move directly echoed when the frightened Bride reaches for Henry Frankenstein, turning away from the lugubrious Dr. Pretorius.



The entire lifespan of the Monster’s betrothed, from the moment we see her fingers move until The Monster pulls the Deus Ex Power Switch that blows everything to atoms, is almost exactly 12 minutes. Add a few moments, unshown, while Frankenstein and Pretorius remove the head bandages and slip her into a tent-like shroud. I’d like to think that The Bride’s electrostatic hairdo sprang up on its own as soon as the bandages unraveled. Otherwise, the entire, short existence of the thunderstruck Bride is chronicled on screen, most of it in tight, loving close-up.

The Bride’s profile was inspired by a bust of Nefertiti, which is appropriate for a Monster Queen. She is unforgettable, with her electrified hair, bee stung lips, lightning bolt scars and big eyes, irises the size of dimes, that never seem to blink.

Halloween may be just around the corner, but I’m skipping ahead to Valentine’s Day. Here’s my homage to The Bride, as she appeared in close-up, from the shot of her bandaged head with its crown of safety pins to her final, defiant hiss.

I give you The Beautiful Monster: The Bride of Frankenstein.










Directed by James Whale. Makeup by Jack Pierce. Cinematography by John Mescall.

My first contribution to the Close-Up Blogathon, about James Whale’s Frankenstein (1931), is here.


October 14, 2007

Into The Light

This post is part of the Close-up Blogathon under the auspices of Matt Zoller Seitz at The House Next Door.

The first significant close-up in James Whale’s Frankenstein (1931) is that of the Monster’s hand. For all the energy, the sparking fireworks and thunderous cacophony of the spectacular creation scene, the one sign that life has been kindled in the artificial man is the slow movement of the gruesome hand, with its darkened fingertips and an ugly scar carving the wrist. It’s alive.

The classic “bolt head” Frankenstein is an icon of the 20th Century. Today, the image so permeates popular culture that it is almost impossible to imagine its power when it was first flashed on cinema screens 76 years ago. One scene, in its terrible beauty, still evokes how disconcerting, how utterly alien the first sight of this incredible face must have been, and that is in The Reveal.

The Monster is announced with a groan and the sound of shuffling feet. Waiting in the lab, quiet now, its equipment stowed under dust covers, doctors Frankenstein and Waldman hurriedly turn down the lights. Down, not up. The Creature will be brought out in luminous penumbra.

The door opens and the Monster stands, confused, with it’s back to us.

Next, in close-up, the inexplicably square head slowly rotates. We glimpse, progressively, an overhanging brow, a tall forehead. Stitches, skull clamps and neck plugs. Turning, the face’s cubistic angles catches the low light, now faces us, and The Monster is revealed.




Then, in complete, breathless silence, a sort of staccato zoom-in: Two successively closer shots with the camera curiously unmoored, trembling slighty, as if hand-held. We are given a Good Look and The Monster stares back at us, too close, with his dull dead man’s eyes.



Boris Karloff’s brilliant pantomime would make his Monster unforgettable, but never again would the character appear so mysterious, so utterly primal as here, in its introduction, when that impossible face came into the light and was seared into the collective consciousness.

Directed by James Whale. Makeup by Jack Pierce. Cinematography by Arthur Edeson.


Part Two: The Short, Apocalyptic Life of The Bride of Frankenstein, is here.


October 12, 2007

Frankensteinian : The Walking Dead


Made in 1936, Michael Curtiz’ The Walking Dead mashes a Frankenstein theme — with Boris Karloff along to sell it — and a gritty Warner Brothers’ hardboiled crime story.

Karloff is framed for murder and gets the chair. Scientist Edmund Gwenn, using among other things a real “Lindbergh Heart Pump”, resurrects the wrongfully executed man, exclaiming “He’s alive!” when Karloff stirs.

No heavy makeup needed here: Karloff wears a shock of electrified white hair and that unmistakable, heavy-lidded, deadpan stare that always says “back from the grave”.

This walking dead man doesn’t actually kill anyone. Just showing up scares the bad guys into fatal accidents, like backing out of a high window. In a unique twist, this character is not a zombie bent on revenge as much as an avenging angel who’s mere appearance serves divine justice.

In a rare, early case of film novelization, The Walking Dead was adapted to fiction by John L. Chambliss in the July 1936 issue of the pulp Movie Action Magazine.

There’s a good review of the film at 100misspenthours.com.

The scrumptious poster is from the collection of Jean-Claude Michel.


October 11, 2007

Dueling Frankensteins


“In deconstructing one of the most popular story of all time, we hope to offer a new perspective for contemporary audiences.”

- Mark Baron and Jeffrey Jackson, authors, Frankenstein, A New Musical.

There’s an embarrassment of riches for Frankenstein fans in the New York area. The serious-minded Frankenstein, A New Musical opened Off-Broadway at 37 Arts last night (October 10), while the light-hearted (light-headed?) Mel Brook’s New Musical, Young Frankenstein begins its preview run tonight, October 11, at the Hilton Theater.

The two productions are a just few blocks from each other, but worlds apart in concept. If there’s any competition here, it’s sibling rivalry: Hunter Foster plays a thoughtful Victor Frankenstein in the Off-Broadway musical while his sister, Sutton Foster, plays the loony Inga in the Mel Brook’s romp on 42nd Street.

Frankenstein, A New Musical promises to be “extraordinarily faithful to Mary Shelley's original novel while offering a bold, new experience for modern theater audiences”. The company’s website has been updated with photos, cast and crew bios and music samples. Playbill has just come out with a very informative article about the show.


October 10, 2007

Listen to Frankenstein


The days of radio drama are long gone, but the art form survives through the efforts and considerable talent of people like actor/writer/producer Craig Wichman, founder of New York’s Quicksilver Radio Theater. Online streaming, podcasting and audio books are new avenues of creativity that this unique troupe of seasoned actors and technicians is actively exploring. Quicksilver has produced a wide variety of award-winning audio plays tackling everything from Shakespeare to Sherlock Holmes.

The script for Frankenstein: Modern Prometheus is an intelligent and very faithful 60-minute adaptation of what is, admittedly, a huge, sprawling book. Under the direction of Jay Stern, Joseph Franchini as Victor Frankenstein and Craig Wichman as The Monster headline a large cast whose fine work —complete with sound effects and an original score — makes Mary Shelley’s novel spring to robust life.

This Frankenstein has already earned deserved kudos from critic Leonard Maltin and Frankenstein expert Don Glut. Now it's your turn to experience it: Treat yourself to Quicksilver Radio Theater’s Frankenstein, streaming online this Thursday, October 11, at 1pm EST on Greater Portland Community Radio. Go to http://www.wmpg.org/ and click “Listen” on the menu at the top of the page. Part 2 will be streaming next week, on October 18.

The graphic illustrating this post is by yours truly. Thanks, Craig, for letting me cut loose!