THEATER REVIEW

Tom Titus

Percy Bysshe Shelley has gone down in history as one of England’s

greatest poets, but it was his wife, Mary, who made the most indelible

impression on popular culture. She wrote the novel “Frankenstein.”

When Hollywood first put the monster on the screen in 1933, it was --

along with the 1931 version of Bram Stoker’s “Dracula” -- the beginning

of a long and lucrative series of horror movies for Universal Pictures.

Its most famous exponents have been Boris Karloff, Christopher Lee and

Peter Boyle (in Mel Brooks’ classic spoof “Young Frankenstein”).

Costa Mesa’s Trilogy Playhouse has gotten into the monster-making

business with its production of “Frankenstein 1930,” but the theater has

chosen a pedestrian script by playwright Fred Carmichael with which to

work. The result is admirable strength in the core of the production, but

a show that is quite ragged around the edges.

Director Alicia Butler plays the horror story straight, avoiding any

Brooksian gimmicks, which might have softened the melodrama, although

it’s rumored that these may be inserted for the final performance. At the

moment, the show is as deadly serious as the original movie, and

consequently suffers from the same problem of depth.

James Mulligan, clearly the MVP of the Trilogy over its first two

years, not only portrays the slightly demented scientist of the title but

also has designed the foreboding set of stone grays and darkened

passages. Mulligan thrusts himself skillfully into the character,

revealing his rationality as well as his passion to create a new life

form.

As his perplexed fiancee, Wendi Glodery wrestles with her melodramatic

character, striving to reflect concern and support from a script that

gives her little of either. James Miller, as the staunch friend of both,

delivers a flat, bloodless performance marked by a constant monotone.

(It’s curious that in the Carmichael version, Miller’s character is known

as Henry, while Dr. Frankenstein bears the name Victor. In the original

movie, these character names were reversed.)

The creature itself is a fearsome mutant powerfully portrayed by Karl

Saxton who must communicate solely with grunts and groans. His facial

makeup is truly frightening, as is his monstrous bearing.

Playwright Carmichael unfortunately felt the need for periodic

exposition, and he has assigned this task to a pair of gravediggers

(George Pelham and Thomas Moss) and some citizens (Eileen Conan and Jenny

Stumpf). These segments are the play’s weakest and most likely could have

been trimmed or excised.

Sharon Simonian is fine as the doctor’s concerned aunt, while Charity

Smith is a marvelously chirpy young maid. Bruno Stoecklein draws the

“Igor assignment,” the flunky known in this case as Gorgo, who helps the

doctor create what he hopes will be “a friend” for this misshapen

outcast.

The doctor’s mentor is played without much variation by Jim Thoms, and

the little girl who foolishly offers to play a game of jacks with the

creature is nicely done by young Alanna Hanly.

Cindy Simonian’s original music sets the stage beautifully for the

eerie events, and the storm effects (uncredited) are quite authentic.

“Frankenstein 1930” is a difficult project, created from an even more

difficult script, which nevertheless manages to shock and entertain where

necessary at the Trilogy Playhouse.

* TOM TITUS reviews and writes about local theater for the Daily

Pilot. His stories appear Thursdays and Saturdays.

FYI

WHAT: “Frankenstein 1930”

WHERE: Trilogy Playhouse, 2930 Bristol St., Costa Mesa

WHEN: Fridays and Saturdays at 7:30 p.m., Sundays at 5 p.m. through

Oct. 28

COST: $13 and $15

PHONE: (714) 957,-3347, Ext. 1