Theater Review: FRANKENSTEIN (Shakespeare Theatre Company in D.C.)

NOT THE MONSTER YOU EXPECT:
VICTOR FRANKENSTEIN IS THE VILLAIN

Based on Mary Shelley’s iconic novel, a bold retelling of Frankenstein opened last night at STC’s Klein Theater in Washington D.C. It’s not the story you might expect — and in this case, that’s a good thing. This ambitious adaptation by Emily Burns refreshes the familiar tale by emphasizing universal themes of abandonment and the deep human longing to belong.

Rebecca S’manga Frank and Nick Westrate

In this production, the creature (Lucas Iverson) is not the monster. There’s no green skin, no neck bolts — just a strikingly handsome young man with a single, thin scar running from beneath his chin down his chest. What defines him here is not horror, but heartbreak. Abandoned by his creator, Victor Frankenstein (Nick Westrate), the creature spirals into desperation and — in a final striking moment that will make you gasp — he takes on to be the monster the town’s search party has been led to believe. But who is the real monster?

Rebecca S’manga Frank

Much like Kimberly Belflower’s successful Broadway play, John Proctor is the Villain, this adaptation also reevaluates the male protagonist and replaces him with the insight and power of Elizabeth (Rebecca S’manga Frank), Victor’s fiancée. While not quite as effective, Burns’s interrogation of Victor Frankenstein is both timely and necessary. His descent into delusion is rooted not in hubris, as is often portrayed, but in untreated mental illness fueled by repeated acts of abandonment — of his creation, his family, and even himself. His younger brother disappears, and Victor chooses not to search. He lies to his fiancée (also his adopted sister) about when he’ll return to marry her, disappearing for six years instead of one. He’s terrified of fatherhood and emotionally distances himself from his premature newborn daughter, worried she may grow into someone he cannot love — just as he couldn’t love the being he brought to life.

Anna Takayo

Such themes as commitment responsibility, nurturing, and whether creators have the right to reject their creations echo Shelley’s own life and writing. They aren’t tacked-on modern commentary, but a deepening of the source material. And as the play leans into this psychological territory, it soars with originality, relevance, and the making of a great new play. That is, with continued revisions.

Rebecca S’manga Frank, Anna Takayo, and Nick Westrate

The women in this production feel especially contemporary, despite the story appearing to stay rooted in the late 1700s. Frank brings fierce intelligence and emotional depth to Elizabeth who confronts Victor with his on-going lies, sets firm boundaries, gives ultimatums, even curses at him, and ultimately leaves him — making her the true hero of the piece. Anna Takayo plays a household servant, Justine, and later the nursemaid (Esther) to the baby; she also provides offstage voice work for children. Takayo’s characters are similarly resolute and emotionally grounded. While it’s refreshing to see such strong female portrayals in a period setting, one cannot help but wonder if they’re more reflective of 21st-century ideals than 18th-century realities. Still, their presence adds a vital counterbalance to Victor’s unraveling world.

Nick Westrate

Monroe E. Barnes and Mila Weir alternate in the dual roles of young Elizabeth and the couple’s pre-teen daughter, Eva, bringing warmth and innocence to a play heavy with psychological weight.

Nick Westrate and Rebecca S’manga Frank

The strengths of Burns’s adaptation are undeniable, but the writing occasionally stumbles. The narrative leans heavily on flashbacks and exposition, and key moments are often re-explained aloud by the characters — helpful, yes, but also indicative of structural weaknesses. A tighter script with more showing and less telling would elevate this already insightful take into something truly special.

Monroe E. Barnes and Rebecca S’manga Frank

Burns also directs the production, and her theatrical instincts often shine. She delivers thrilling stage moments, and her vision is clearly ambitious. But at times, the actors are pushed into exaggerated performances better suited to massive outdoor venues like the 11,000-seat MUNY in St. Louis. The dual responsibilities of writing and directing seem to have stretched Burns thin, depriving the production of the refinement and collaborative friction that a separate director might have brought.

Mila Weir

Where this production truly dazzles is in its design. Andrew Boyce’s towering sets conjures the grandeur and isolation of the Frankenstein estate, while Neil Austin’s shadowy lighting and Kaye Voyce’s lush, character-defining costumes make every moment visually arresting. Together, the design elements feel like another living, breathing character in the story — haunting, stunning, and essential.

Rebecca S’manga Frank and Nick Westrate

In the end, Frankenstein is a flawed but fascinating evening that finds new resonance in a well-worn tale. Emily Burns’s adaptation reminds us why we keep returning to this story — not for the monster, but for the humanity lurking underneath.

Rebecca S’manga Frank and Nick Westrate

photos by DJ Corey Photography

Frankenstein
Shakespeare Theatre Company
Klein Theatre, 450 7th Street NW, Washington, DC
2 hours and 30 minutes, with one 15-minute intermission
ends on June 29, 2025
for tickets, visit STC

for more shows, visit Theatre in DC

Gregory Fletcher is an author, a theater professor, a playwright, director, and stage manager. His craft book on playwriting is entitled Shorts and Briefs, and publishing credits include two YA novels (Other People’s Crazy, and Other People’s Drama), 2 novellas in the series Inclusive Bedtime Stories, 2 short stories in The Night Bazaar series, and several essays. Website, Facebook, Instagram.