The reviews are still pouring in after this week’s Press premiere of the National Theatre’s Frankenstein. Even The New York Times weighs in, cross-pond, on what has become an international phenomenon. Back in London, The Guardian reviewed the reviews, recapping the glowing press pronouncements as “Stunning, stunning, stunning, boring briefly, stunning again.”
Now, photos from the play are flooding the net, if you care to Google. The Monster sports cruel stitching down his face and body, as if he’s been assembled from two halves. The sets show a floating ceiling, like candles burning overhead, there’s a fiery steampunk machine and a manor suggested in filigree. Actors appear in elegant period costume, in sharp contrast to the barefoot Monster’s rags.
I’m posting a link to a fine picture gallery on The Guardian, but beware of spoilers. If you are planning to see the cinema broadcast in March, you might want to save yourself some surprises. There’s one photo, in particular, that reveals a significant departure from the original Mary Shelley novel.