erative to note that the stage production of Frankenstein play was worth the time and resources since is delivered an outstanding experience both from the production team and the cast with a compelling and raw performance.
Sound design stood out in developing major themes in this play. It was very impressive of producer Boyle to give voice to the creature since this is how the audience learns the challenges facing the creature thereby sympathizing with him. As a new born, the creature is abandoned to fend for itself. Cumberbatch is unable to walk or talk and faces a lot of cruelty and unfriendliness everywhere he goes. He struggles in quest for some compassion, kindness and affection from the humans but faces rejection and neglect. For this reason, he not only learns to talk and walk, but also learns the art of lying, manipulating hate and anger. This presents the themes of cruelty, irony and revenge as the fashioned world shapes Cumberbatch into committing crimes and murders and eventually take revenge on his father. Sound effects were especially effective in showing the powerful and emotive bond between Cumberbatch and Miller.
The scenic design was absolutely breathtaking with an awesome set complimented by paints and striking music. Mark Tildesley was especially very creative in providing innovative scenic designs and visual coups. About ten initial minutes of the production were extraordinary as the stage provides an impressive scenery where Victor is busy with his experiments of making life. The stage is set with overhang candle-filled canopy in the auditorium and the light produced blazes to illuminate the galvanizing experiments of Victor. Tildesley design evokes the essence of early industrialization by using sleepers, tracks and a steam-belching train. Furthermore, the auditorium is completely set in a background in a grey cloth to suggest an ancient quarry. A natural touch to the play is enhanced by the use of birds to enhance the creature’s discovery