Review: Much to applaud in new version of classic monster tale yyc
Cooper balances the creature’s assent into humanity with Victor Frankenstein’s descent into madness so that at the end of the play it is Frankenstein who is cowering, whimpering and flailing on the floor as his creation taunts him into submission and horror. Austin Halarewich handles Frankenstein’s physical deterioration more effectively than the man’s earlier arrogance and bewilderment.
Technically Cooper’s Frankenstein is a stunner. With minimal manipulation, Jared Raschke’s graveyard set effectively becomes the numerous locations required to tell the story. The huge back drape is stitched together in much the same fashion as the creature himself whose makeup, designed by Alexis Ly, makes Tan look grotesque until Tan’s body language lessens the effect of those scars.
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