English author Mary Shelley’s (1797–1851) gothic novel Frankenstein was first published in 1818.
Now Kristen Smyth has crafted and delivers a transgender reimagining of the work that hits like a thunderbolt.
It is set primarily in 1980s London, against a backdrop of sporting and nightclub culture and hooliganism.
Smyth introduces us to an array of characters, including Frank, Ruby, Ruby’s mother, Ruby’s sister and gang members, among them Harry.
Photos by Mark Gambino
From a young age, Ruby – then a “he” – knows that he doesn’t fit in.
A critical time in his life was the age of 13.
That was when he was enamoured by the contents of his mother’s closet, specifically her boots and the "sensitive" fabric evident in her clothing.
The problem was that he couldn’t then, or subsequently, out himself to his mother or sister, even though his mother knew.
Now, in the present day, he – by now well established as “she” – is making a permanent change.
Her story unfolds on the operating table, as she looks back at her life.
He got in with a bad crowd that included the belligerent and angry Frank and a gang of thugs.
They brawled and drank and snorted. In fact, not all survived. Frank couldn’t bring himself to admit that he was attracted to Ruby.
Despite their love of country, both ended up in a bad way.
The 80-minute monologue leaves you asking just who is the monster here?
A big part of the journey involves fear, loathing and bad behaviour.
The detail in the writing, which involves vivid word pictures, is remarkable.
These are the slices of reality that ring true for Ruby.
One can’t help but admire the arc that Kristen Smyth adroitly works through and the range of emotions she channels in so doing.
She is an impressive and most natural performer, who looks totally comfortable on stage.
Her craft is evocative and compelling, as she struts about and around a white catwalk like setting, occasionally perching herself on tinfoil covered furniture.
The set design is the domain of Rachel “Stoz” Stone.
When Ruby emerges from the darkness, her appearance makes a statement, one of pride and individuality.
She is dressed in a ruffled white shirt, black flouncy skirt, fishnet stockings, white frilly knickers and Doc Martens.
She has on white facial makeup and lippy.
As Frank, she adds a striking, uniquely rendered black patchwork jacket with applications, including a British flag on the shoulder.
Costuming is the work of recent VCA graduate Jessamine Moffett.
The mood and tone are set through not only Smyth’s gait and positioning, but by varied lighting hues and dynamic sound vignettes.
Cohan is both director and lighting designer, while Di Drew is sound designer.
The overall look and feel of the piece then is the construct of majority transgender and non-binary creatives who bring Smyth's searing and descriptive text to life.
The Australian premiere of the lived experience that is Smyth’s reworking of Frankenstein is bold and insightful.
Cruel Brittania: After Frankenstein is on at The Show Room, Arts Centre Melbourne until 30th November, 2024.
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