Frankenstein Upstairs , the new play from The Honeycomb Trilogy ’s Mac Rogers , is an clumsy creature . Part advanced relationship dramedy , part update gothic horror , the show is deserving it for salient performances . What would you do if Dr. Frankenstein was your neighbour ?
Rogers ’ unexampled play , following his excellent three - part exotic - invasion epos , hinges on this guess . With Dr. Victoria Frankenstein , effortlessly illuminated by Kristen Vaughan , Rogers has made one of his most enduring contributions to the leg . Vaughan , last seen as a give way mother in Rogers ’ Blast Radius , is effervescent here . Her Frankenstein – victorian , polite , Swiss , and increasingly creepy – is a wonder to behold . every bit vibrant is Diana Oh , who shine in other scenes as the spare - zippy web designer Marisol . Both histrion are so compelling that you would follow them down any lapin - hole , and Rogers ’ is complex and has many twists both expect and from left force field .
The intensity level of the early assumption – that a modernized Frankenstein lurks on a higher floor , preparing for a novel monster – is watered down by the too - pelvis place setting . Marisol and Sophie ( Autumn Dornfeld ) , a dysfunctional young Brooklyn odd - yoke , are wondering if they should merge their social media businesses into a greater whole . Their cant - filled world is sashay only by Marisol ’s ally Taylor ( Rob Maitner ) , a blind writer who write a mix of Anita Blake and Harlequin under a distaff pseudonym — and the introduction of Dr. Frankenstein . It ’s unmanageable to sympathize with the high - strung Sophie and chill - out Marisol ’s early relationship . They seem so at odds , and so unambiguously privileged ( who can give to live / work out of a DUMBO loft with a undivided World Wide Web client ? ) , that the inevitable tragic decline of one , and selfless valiance of the other , feel disingenuous . These two need couples therapy , but they get Dr. Frankenstein instead .
The play then veers from seasonable domesticated dramatic play into science fiction and horror tropes . It does n’t disappoint on revulsion - show visuals , a testament to peculiar effect by Stephanie Cox - Williams , and the action impress exquisitely , thanks to the actor and the deft touch of director Jordana Williams , a frequent Rogers quisling . The clever arrange design by Sandy Yalkin turn The Secret Theatre ’s cozy infinite in Queens , New York City , into an urban loft that can become an operating theater . Amanda Jenks ’ costumes are subtle and vibrant as necessary , with Dr. Frankenstein seem like everyone ’s aspiration of a chic mad scientist . The sound and lightning ( by Jeanne E. Travis and Jennifer Linn Wilcox ) are impeccable , with themed indie medicine transition scene , zap of illuminating electricity , and ominous lighting flash past the windows .
Vaughan ’s role can not be overstate . Her execution is an effect , and I experience privileged to have seen it . By deform elegantly mysterious and socially bunglesome , the rebooted Vic Frankenstein is the draw and substantial column of the play . The residuum of the plot is design to tardily unveil and unravel the enigmatic doctor ’s motivations . This it does ( though rather too easy ) , and we number to know a Frankenstein who is a hybrid made of Mary Shelley ’s physician , cinematic interpretations , and Rogers ’ reimagining . The dramatist ’s obvious love life of the rootage material and genre shines through , though you should probably sweep up on your Shelley before the show . Audience members unfamiliar with the literary classic will escape the point and pathos of several central aspect , which feels inauspicious .
The rest of the strong cast does well : Dornfeld ’s Sophie , a chivvy type - A character who is the shut the play has to a heroine , has moments of enormousness , including a scene with a whiteboard that is hard to forget . Maitner ’s Taylor is a creative and sympathetic reference , played with over - the - top persistency . Oh , as Marisol , has a magnetic force unacceptable to look away from , and we are always hungry to see more of her . We screw from the big flick on the playbill that Marisol will end up on Dr. Frankenstein ’s slab . But it takes a good while to get her there , and while her reinanimated form holds some surprises , we , like Sophie , miss the old Marisol .
It ’s a strange phenomenon that Mary Shelley ’s Dr. Frankenstein has become fuse in pa polish with his creation . Most hear “ Frankenstein ” and imagine of the groaning , shuffling behemoth with bolt in his neck from B vitamin - movies . Stranger still is that Shelley ’s Creature , an articulated , philosophizing simulacrum in the text , has been reduced to an inhuman beast in public consciousness . It is a miss opportunity of Frankenstein Upstairs that the nature and implications of the monster are not further unpacked . Rogers is a bold and efficient writer , and the play has a lot that it want to say about Shelley ’s primary paper – building of identity and family , mortality , playing God , love and loss – but these become addle by too many scenes of set - up and build up - up , and Book of Revelation that come tight and furiously , when they are at last revealed .
The mislaid vehemence on the characters ’ personal problem bogs down a production that want to scranch with fantastical hypothesis . There is a previous twist that fork over on jolt value , but feels so free that I am still pull together my jaw from the story . While Ginger Rogers ’ commitment to feature unlawful distaff persona must be applauded , the girl - on - girl crimes of the last act are overwrought . It is the strong belief and allegiance of the gifted cast and work party that galvanizes the play ’s disparate portion , and keeps Frankenstein Upstairs alive .
“ Frankenstein Upstairs , ” present by Gideon Productions , runs at The Secret Theatre through June 30th ( 44 - 02 23rd Street , Queens , NYwww.secrettheatre.com);ticketsare $ 18/$15 for pupil and senior . picture by Deborah Alexander .
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