The sheer brilliance of the performances from Johnny Lee Miller and Benedict Cumberbatch shine.

The National Theatre Live first launched in 2009 with the broadcast of National Theatre’s production of Phèdre, staring Helen Mirren. Ever since, they have enabled theatre fans to experience the raw performances that theatrical acting oozes with a cinematic flare. Those who are unable to attend the live performances of some of the most successful contemporary productions are able to submerge themselves in the drama from the comfort of a dark cinema. No doubt a gift for theatre and a gift for cinema, alike. 

Mary Shelley wrote her famous, monstrous tale when she was just 18 years old in 1818. It has since become one of the most well known, classic tales that opens up a world of questions to themes of creations, human development and moral boundaries. Man has tackled her story, both within theatre and cinema and now the National Theatre have enlisted Johnny Lee Miller (TRAINSPOTTING) and Benedict Cumberbatch (SHERLOCK) to delve into the story once again.

Directed by Danny Boyle (Slumdog Millionaire) and written by Nick Dear (Inspector Lewis), Frankenstein is a play of revolutionary performances and visual spectacle. 

Visually, the set design had a mix of magical splendor and a foreboding that felt truly menacing, if not industrial. Above the set was a canape of hanging lights that acted as a heartbeat for the production. Often blinding, sometimes soft- this web of glowing orbs fused the narrative to the setting. Lighting designer Bruno Poet truly outdid himself in such a simple idea, that brings complex and emotive results. 

Alongside this, set designer Mark Tildesley created an environment for mystery in a very minimalist but effective way. With a revolving stage floor, sets that sprung from the ground, a steam train that so brilliantly brought cast to stage and perfectly staged fire ports, viewers quickly immerse themselves into stage life, leaving the comfort of their cinema seat behind and adapt to the various, harsh settings. Whether it be Frankenstein’s Scottish lab or the misty rivers where the Creature lurks, you are transported both visually and emotionally. 

What is truly revolutionary within this production though, is the sheer brilliance of the performances from Johnny Lee Miller and Benedict Cumberbatch. The differences in the caliber of acting from screen to stage is astounding. How two well established, brilliant actors can launch themselves into performances of phenomenal proportions is astounding. 

During the run of productions, both Miller and Cumberbatch revolve characters, ensuring both actors explore Frankenstein and Creature. In this instance, Johnny Lee Miller was captivating as the determined scientist. He plays Victor Frankenstein with a sense of arrogance veiled with insecurity that makes him both infuriating and understandable. His relationship with his fiancee, Elizabeth- played by the enchanting Naomie Harris, is touching and frustrating. Audiences despair at his initial indifference to his beautiful betrothed but melt at the tender, if sparse, moments they do share.

The scene in which Frankenstein sees his creature as a developed, functioning human being is tremendously multi-dimensional. Johnny Lee Miller plays him with the full spectrum of human emotions – fear, panic, admiration, happiness. It makes his character so strangely understandable that one cannot help but enjoy him, despite the sins he commits.

The true star of this production has to be the enigmatic Benedict Cumberbatch.  His performance is truly astonishing with a level of commitment, both physical and emotional, that captivates audiences within mere seconds of performance. Cumberbatch commented on how he would study stroke victims and those who have experiences great loss in their limbs, mirroring their despairing movements. This study and commitment is so blatantly apparent within the opening scene, as Cumberbatch’s creature emerges from his womb. His physical performance is magnificent and exhausting to merely watch. Rolling around the stage, flinging his useless limbs and expressing nonsensical sounds, Cumberbatch is morbidly fantastic. Leaving his audience dumbfounded and uncomfortably silent, a sense of dread and wonder echoes throughout the theatre, while this painfully long scene sees the Creature discover his lean limbs and muscles. 

Beyond this, Cumberbatch’s ability to express the naivety and softness of this so-called monster is genuinely touching. Like a whimsical toddler, the Creature struggles to find an accepting family, friend or lover – making him increasingly aggressive and dangerous. Cumberbatch changes his movements and speech in a subtle way that audiences are truly appalled when the Creature goes to extreme lengths to destroy Frankenstein’s world. It is a performance like no other that would no doubt, only come from an actor of this caliber. 

With a brilliant supporting cast including Ella Smith, George Harris, Hayden Downing and Mark Armstrong, Danny Boyle’s Frankenstein is truly a triumph for British theatre and The National Theatre Live’s screening is remarkable. To allow audiences the chance to experience such phenomenal acting, enchanting lighting and spectacular set design that comes with theatrical productions with the added beauty of cinematic styling and cinematography, is genuinely a gift. 

Verdict

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