PRODUCTION SPONSORS
BARTER THEATRE IS PARTIALLY FUNDED BY
Frankenstein
September 30th - October 31st
A world premier adaptation of
Mary Shelley’s novel by Catherine Bush
When scientist Victor Frankenstein infuses the spark of Life into his Creature, he begins a haunting examination of what it is to be human and the price we pay for playing God. A uniquely theatrical experience, this new adaptation of Mary Shelley’s famous story is the perfect way to celebrate the Halloween season.
The play takes place in the early 1800s; Various locations in Switzerland and the frozen tundra of the Arctic.
COLLABORATORS
Director
John Hardy
Set Designer
Derek Smith
Costume Designer
Kelly Jenkins
Lighting Designer
Andrew Morehouse
Fight Choreographer
Sean Maximo Campos
Fight Captain
Ezra Colón
Intimacy Coordinator
Ashley Campos
COVID Safety Manager
Barrett Guyton
Assistant COVID Safety Manager
Sarah Van Deusen
Assistant Stage Manager
Jayme Tinti*
Production Stage Manager
Cindi Raebel*
CAST in order of appearance
Alexis Ijeoma Nwokoji*
Wolsey/Elizabeth/Citizen/Peasant/Agatha
Justin Tyler Lewis*
Victor Frankenstein
Zacchaeus Kimbrell*
Hughes/Henry/William/Advocate
Ezra Colón*
Walton/Byron/Peasant/Felix
Nick Piper*
Alphonse/Policeman/Peasant/Delacey/Priest
Hannah Ingram*
Caroline/Justine/Claire/Peasant/Safie/Female Creature
Sean Campos*
The Creature
*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
UNDERSTUDIES
Lilly Anayeh
Kaci Deakins
Lauren Easton
James Jiggetts
Sam McCalla
Andy Patterson
Sarah Van Deusen
Chris White
Understudies never substitute for listed players unless a specific announcement for the appearance is made at the time of the performance.
THE ADAPTATION;
John Hardy, Director
My friend and colleague, Cathy Bush, wrote this play. She did the adaptation. She moved the story from one form of literature to another. It is an effort that falls into the wide category of: “this is harder than it sounds”. The novel Frankenstein is a good example of Romantic Literature: It is luxurious; it overstates things; it takes the time to examine ideas. It is without the requirement of urgency. "Drama” (aka: theatrical literature) does not benefit from any one of these qualities of “Romantic Literature.” Thus, it needs – not “wants,” to be adapted. Urgency is a needed quality of most, if not all, dramatic literature.
An attempt to “adapt” a novel into dramatic form will fail if the writer does not take seriously the term “adapt.” Here is an example that may seem obvious: At one point, in the novel, Victor Frankenstein is sick in bed for months. How would such a thing play in dramatic form? I get drowsy even thinking about it. “Adaptation” is necessary. The solution for this simply stated problem (cannot have Victor in bed for months) can, and does, change the structure of the entire play. Thus, what is needed is a skilled professional with a great deal of experience, relentlessly pursuing the urgency of the drama without compromise. Apply this principle to each and every moment of the play and you have the best definition of the word, “adaptation."
