Frankenstein via National Theatre Live: FLAILZ

Drove an hour an a half to see two hours of theatre today. There's a quirky, utterly adorable little theatre that's on the NTLive roster not horribly far away, so today I got to see Danny Boyle's Frankenstein.

SO MANY FEELINGS, NOT ENOUGH WORDS.

I made a list of things to think about when I was capable of doing more than flailing my hands around, but after an hour and a half car ride home and a leisurely family dinner, I STILL haven't managed to come down yet. You can't see me as I type, but I keep stopping to flail.

I don't have much attachment to the Frankenstein myth and even less to Shelly's book, so narrative changes didn't faze me at all. Though I do want to reread the book now.

All star cast, all star production team. The set/lights/costumes/makeup/FX/sound designs were all fantastic. Clear, purposeful, non-distracting, and lovely. Not a show about design, but a show VERY well supported by its design. Also, I would like to wear Frankenstein's first coat. THOSE SLEEVES WERE BEAUTIFUL.

HOLY CRAP PHYSICALITY! I swear, Benedict Cumberbatch controls every single tendon in his body. The first twenty minutes of the show, especially, awed me. The show's definitely at risk of alienating the audience (and theatre gods help you if you don't know the Frankenstein story!) for that first chunk, but it worked SO WELL.

Aaaand there was definitely a point towards the end of the show that the Monster (Cumberbatch) was in breeches and an open jacket. My fangirl brain hijacked the rest of me and I COULDN'T STOP STARING AT THE ABS. WTF, self? I'm not a abs gal, AND the scene was engaging. Attack of shallow me!

Seeing live theatre that wasn't live! Was totally fine and unbothered by the "this is recorded" fact until curtain call, when my need to show my appreciation to cast and crew was at war with the "across the pond and only seeing this via some very lovely cameras" thing. Academic brain noted that there were a few beats that got considerably larger laughs from the UK audience; likewise, others clicked with the US audience. Lost a couple lines because we laughed when the UK audience didn't (so there was no laughter pause from the actors).

Other thinky things about US vs UK theatre, with regards to little fixes. Noticed a few small things (namely, a bald cap that just wanted to be freeeeeeeeee!) that, in the US, would have had techies flying around backstage in an attempt to fix with whatever means necessary. Less so in the UK?

There were a few interview clips before the show started; in one Johnny Lee Miller talked about finding his Monster in his Frankenstein. Was mildly disappointed that we had it spelled out pre-show, as I'd like to have discovered that for myself. He had some vocal quirks early on that I think would have clued me in. But I didn't get to make that discovery, sadly.

Definitely some changes from the previews; notably, FAR less nudity than I expected. Wondering if it was a change made in previews or a change made for this show (which would make me sadfaced).

It's HOURS later and I'm still SO FLAILY.

I say it often when I see a show that rocks me, but THAT is what theatre is supposed to do. Alas, I have now used up the few words I had remaining. AM RELIANT ON CAPSLOCK TO EXPRESS MYSELF.

Let's Do This Thing

Lots of things in my head tonight. I saw a really good show at Round House with a bunch of other interns-- a modern-ish adaptation of Dorian Grey. Among other things, they had a BEAUTIFUL double turntable that was incredibly smooth. and they used it SO WELL. There were two moments in particular that earned seat-flailing from me and vocal appreciation from the audience. Just turntable movements, mind you! And the car ride back was filled with the bubbly sort of "Oh, and that moment was AWESOME!" "Yeah, but I'm not sure how I feel about this choice." "Oh, it worked for me once this one thing happened; then it clicked" conversation that I love. There's one point in the show where Dorian says something to the effect of "art doesn't make people do things; it merely reflects our potential for committing evil acts" only he says it with more grace and passion. The line falls flat, as it should, because not one character or audience member (and at that point, not even Dorian) believes it, given the events of the play. But as I suspect it was intended to do, the line made me think about a show's responsibility to its audience as well as an audience's responsibility to a show. Nothing new or profound on either front, but mah brainz are spinnin'. Oh theatre, I love you.

And then I came back and drank wine with one of the artistic directors and heard her stories of touring shows in Germany before the wall came down. Oh theatre, I love you.

Before all this happened, I got to walk through the Night Must Fall set for the first time. My first walk through is one of those silly magical moments that always makes me giddy and eager for techs to start. Suddenly, everything theoretical is real. There's a real window! And look at the texture on the floor! And oh, wow, here's how that wonky entrance will work! Sure, the set's not done, costumes aren't finished, and I haven't seen a hint of lights or sound. But set walk through means we might just have a show.

(Say it with me now.) Oh theatre, I love you.