Through Sat 1/30
It is very exciting walking into a theatre without any idea what you are about to see. You know the title, but have no sense of how the story will be presented. But sometimes there are hints of what is in store for you. For Frankenstein’s Wake, I knew that Holly Holsinger is the principal actor, which means that excellence is sure to follow. And I knew that Raymond Bobgan, along with Holsinger, was the co-creator, co-designer and director of this historic ghost story. So that would mean that every moment of the evening has been infused with vibrant execution and creation.
The performance takes place in the Church, now a part of the Cleveland Public Theatre campus. I am taken with how the interior has been transformed visually to a new and exciting internal venue. Wooden plates on the windows, black sheets at each end of the rectangular floor, amidst white-clothed set pieces. Along with the lighting, it creates a sense that something is going down here, and I am going to dig it.
Holsinger begins with a creepy silent opening, black-laced, and encircled with haunting vocals. At this point, we don’t know who she is, and that become quite apparent when the question is asked, “Figure it out?!”
What we are figuring out at this point is who is our narrator of this story. The story examined here is Mary Shelley’s most famous work Frankenstein; or, The Modern Prometheus. published anonymously in 1818 when Mary was only 20 years old. And
Holsinger brilliantly takes on the personas of the main characters simply by morphing her body, voice and breathing pattern, and enhancing her dress with subtle costume pieces. A coat and a fascinating addition of makeup are simple, but they are powerfully introduced augmentations to the core of Holsinger and the character she is creating.
Holsinger is also masterfully physical in her displays of creative emotion and presentation. Balancing a paper on her face or a card on her hat, she demonstrates an applaudable physicality as she maneuvers under, over and on the table. However, you’re drawn into the moment of storytelling; you dare not move. You don’t want to run. You actually can’t move, because there is never a moment that isn’t devoured in truth, honesty and intensity. There is never a break from the relentless, focused telling of the tale, as we slowly realize that the monster is not who you think it is.
The confrontation scene played in the middle of the stage makes Jekyll and Hyde look like a puppet show. Searing embattlements are playing out in front of us as one actor twists and turn herself into a vortex of absolute chaos and characterization. Fascinating.
Of tremendous mention are the three Attendants who add a vocal soundtrack to the show. Whether enhancing a song with Holsinger or creating vocal atmospheric magic on their own, these three ladies, Chloe Mlinarcik/Penelope, Sarah Moore/Celeste and Shannon Sharkey/Pilar, provide the most stunning and beautiful harmony I have EVER heard at CPT. It is brilliant in its tonality, and coupled with Holsinger’s voice, kicks some serious vocal ass. All arrangements are by Caitlin Lewins (Bellissimo), and unless otherwise noted in the playbill, songs are created by Holsinger and Bobgan. If you don’t mind, I would like the ladies to underscore my life.
Powerful collaboration to Raymond Bobgan and Holly Holsinger. The two of you are magic. And the spell you cast on the audience is worth everything. Thank you.
Frankenstein’s Wake runs Mondays, Thursdays, Fridays and Saturdays @ 7pm through 1/30. Tickets are $12-$25. Call 216-631-2727 extension 501 or go to cptonline.org.