Picture: Charlie Flint
Frankenstein, performed by the British Youth Music Theatre, was reviewed at the Greenwich Theatre, London.
Star rating: five stars ★ ★ ★ ★ ★
It’s a while since I saw BYMT in action and I’d forgotten what a stunningly high standard they coax from the 11-21 year olds they work with. Also noteworthy are the skilfully tailored shows they develop to showcase the talent of their companies.
This 80-minute version of Frankenstein, adapted by Victoria Gimby, dates from 2006 and is now substantially refreshed. You know you’re in for a treat as soon as you see Steph Nicholls’ minimalist black and white set.
As the ensemble files in (interesting use of side aisles) we see that they’re all dressed like modern “goths” in black and white with a lot of dark eye make-up – spot on for an adaptation of the world’s most famous and perennially popular Gothic novel.
It’s a fast-paced, sparklingly slick production featuring a company of 36 and some simple but powerful choreography (Sam Wilson-Freeman) – it’s amazing what you can do with ten white dining chairs.
Every company member has a named part and nearly all have them have at least a line or two to sing or speak. Lots of accomplished multi-roling and the use of younger performers to be junior versions of the principals means that there is plenty for everyone to do.
The songs from composer and arranger Jimmy Jewell and lyricist Nick Stimson are carefully composed in reasonable keys and accessible registers for young voices. Most of the ensemble numbers are in unison but the principals often sing in harmony.
Eleni Chivers is outstanding as the troubled Victor Frankenstein who starts as a curious, scientist and ends mortally terrified of what he has done in ignoring God and interfering with nature to create a Creature. He speaks with his eyes and nails every emotion as well as singing very well.
As Elizabeth, the adopted sister whom Victor eventually marries, Catherine Lewis is sweet, good and noble with a fine singing voice. And Bryony Rochfort, who sings like a pro, is very strong as Caroline, Victor’s mother.
There is, moreover, excellent work from Joey Leonidou who plays, amongst ensemble parts, young Victor and Will. He is a commander of the stage and a young actor to watch if ever I saw one.
Another small thing which commends BMYT and director Dean Johnson’s production is that because these young performers are recruited by audition from all over the country they have a delightful range of accents. The variety adds a pleasing sense of inclusion and diversity.
Susan Elkin
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