Frankenstein | Greenwich Theatre

Frankenstein has always proven itself to be a gripping Gothic tale, with the original 1818 novel by Mary Shelley becoming a genre-inventing classic, inspiring several famous adaptations that have become iconic in their own rights. With a story so full of complex questions and emotional depth, it only makes sense for Frankenstein to be re-imagined as a musical. Written by Victoria Gimby with original compositions by Jimmy Jewell and lyrics by Nick Stimson, Frankenstein returns to BYMT exactly twenty years after its first debut at the Theatre Royal Plymouth.

The BYMT (British Youth Musical Theatre) is a wonderful opportunity for young performers aged 11-21, with the chance to develop their skills, hone their talents and truly flourish under professional guidance of musical theatre performers, culminating in a full fledged staging of a musical. The BYMT, amongst its incredible standard and impressive alumni (including the singer songwriter Ed Sheeran, and West End Stars Bradley Jaden, Jamie Muscato, Bronte Barbe, Dean John Wilson, and Grace Mouat amongst others) is also the largest single handed producing house for new musicals. The BYMT only stages original musicals from upcoming musical theatre writers and composers, working closely with them. Whilst in this case, Frankenstein is a returning favourite musical, it takes on a new life under the capable hands of director Dean Johnson. Frankenstein is but one of the six new musicals that have been developed and staged in 2026.

Frankenstein tells audiences the tale of Victor Frankenstein, a young scientist who reanimates a creature, before abandoning it in fear of what he had created. The Creature sets out to seek companionship, lost without a guide, often causing irreparable damage, destruction and even death in his path.

Frankenstein is one of the most influential Gothic novels of all time, with Shelley often being hailed as the 'inventor of true modern science fiction'. With such a rich and dark story, it is easy to see why it would lend itself to become such a compelling musical. Gimby's writing has pulled the well known strings between Victor and the Creature, exploring the themes of guilt, fear, horror, prejudice and more. Gimby has also incorporated the other characters in Victor's life, giving particular importance to his mother and sister Elizabeth. Both women make a significant impact, with his mother's death leaving an all eclipsing hole in his heart, and Elizabeth's love becoming the light in the dark. Whilst the show's runtime is just under an hour and a half, Gimby's script still provides a well detailed stage adaptation for the novel.

Johnson has been tasked with the huge challenge of directing the cast of 36 youth theatre members and he rises spectacularly. Creating a fluid world that allows each child to be a crucial part of the musical is impressive enough, with an ensemble that performs at a very high standard. Johnson has also ensured that the individuality of each young performer is not lost as their own approaches are visible without being distracting. Most impressively is the mature emotional performances that the main cast are able to convey in the musical, eliciting stillness that is just as captivating as the flurry of movement.

With a cast of 36, credit must be given as a whole to the ensemble who manage to create a language that unites them all as they embody the haunting fragments in Victor's mind, the terrified and subsequently blood thirsty villagers. Particularly standouts are Summer Bindley-Carr as the judge, leading a rousing and delightfully unserious number during the court proceedings with a lovely unhinged performance full of passion and charm. Bay Jaworski makes an impactful brief appearance as the second creature, wordlessly conveying a wealth of emotion. Alex Baldry is lovely as Henry, his unwavering loyalty and optimism bubbling well making him wildly likable. Hannah Kamel is particularly impressive as the family maid Justine, with an assured performance that never wavers. Kamel's performance is sincere as she cares for the children as her own and is unfairly framed for murder.

Joey Leonidou and Louie Stow as younger and middle Victor each do well to bring out the warmth and weirdness that shapes Victor throughout his childhood. Leonidou brilliantly portrays the potential cruelty that Victor is capable of as an avid young scientist and the selfish nature of his initial reaction to Elizabeth, whilst still maintaining his innocence. Stow in turn does a remarkable job at highlighting the gentle nature and positive person that Victor is, whilst still being primarily driven by his enthusiasm and efforts for science.

Bryony Rochfort as Caroline Frankenstein, Victor's mother, is a particularly strong performer. With a limited stage time, Rochfort makes both herself and Caroline unforgettable, with perhaps the strongest performance of the evening. Rochfort's performance is strong but her vocals are even more so, delivering an emotional ballad that could rival a west End performance. Rochfort has a bright future ahead of her. Catherine Lewis, likewise, proves her worth with a mighty performance that anchors the entire show. Lewis' steady performance is gorgeous to watch as she internally unravels trying to earn her life following her mother's death, whilst struggling to keep Victor and the rest of the family afloat. Lewis manages to make both sound and silence her specialty, using each with the confidence of a veteran performer whilst radiating her own love loudly.

Freddie Summers as the Creature, self dubbed as Frankenstein after his creator, is perfect casting for the role. Nearly a head taller than the rest of the cast, Summers' Creature looks over the villagers in a satisfying way, mirroring the original novel well. Summers has worked carefully on his physicality, walking barefoot throughout the auditorium with a sunken swagger, ensuring that audiences don't forget his new clumsy style. Summers, with very limited words, converts the depth of his loneliness and in turn love through facial expressions beautifully and really does evoke a lovable creature.

Eleni Chivers as Victor Frankenstein gives the role their all, with a performance so remarkable that it is hard to look away for even a moment. Chivers captures the odd and distant spirit of a haunted genius with a lost look in their eyes throughout. Chivers ramps up the emotional intensity and inability to connect with people, with a performance that somehow reveals everything and nothing all at once. It's a tricky role, with a lot of the characterisation occurring internally, but Chivers manages to showcase this. Chivers' performance is startlingly impressive for one so young. Chivers also has a lovely voice, although preferred to let the emotional anguish comes through in a raw and ragged voice that was simply stunning and left the audience silenced in awe.

However, and this is less a comment about the production itself, but in this particular performance, much of the show was lost due to sound issues. The sound quality in general was murky, missing much of the singing especially in the ensemble numbers which proved a disappointment, for Jimmy Jewell and Nick Stimson's songs create a solid score. A lot of the lines of dialogue were also lost, which is frustrating enough, but even more so when crucial information was missed. Much of Chivers' performance was tragically lost to this issue, but kudos to the young cast for carrying on as professionals never once indicating that they were aware of technical difficulties. Whilst it is understandable that a card of 36 mics can prove tricky to control, especially with limited time for a tech run, it did affect the show considerably.

Steph Nicholas' set design is stunning, with a painted white circle illuminated by a circle of light hanging from above. Appearing to look like an eye, a hovercraft or a prison depending on the person, this staging works perfectly when Victor and the Creature find themselves under the harsh scrutiny of the spotlight, and even more so when they break free of this circular space. Chairs are used frequently by the ensemble, a fun little nod to Hamilton, helping to create various locations. Nicholas is also the costume designer,and has opted to dress the entire cast in a mixture of black and white, with most the ensemble sporting both colours in a mix match of clothes. A hint of period clothing is evident, through the use of corsets, boots, lace and patchwork clothes. Victor's leather apparel sets him apart, whilst giving him a cool yet cold look of an inventor, whilst the Creature is giving a ripped greyish white outfit that reminds one of a mummy.

Danny Vavrecka's lighting design adds to the Gothic nature of the piece, between its harsh examining white spotlight that entraps the characters, forcing them to confront their own moral shortcomings. The use of flashing lights, with a tinge of blue or yellow as Victor reanimates the creature, is inspired lighting, as well as the use of red washes and blackouts for any violence.

Sam Wilson-Freeman's choreography is varied and fills the stage well, allowing the ensemble to be included as much as possible. Wilson-Freeman's choreography is thoughtful, never placing the ensemble onstage unless it adds to the scene and still providing the cast with plenty of opportunities to be onstage. The ensemble choreography using chairs always pays off with several impressive sequences, and ultimately striking visuals, but it's the use of movement and physicality that really does prove particularly apt for this show.

Frankenstein is one of the rare musicals that BYMT repeats, which can only assure one of the quality of the piece, and how much the young company loves the show. The entire show has been fuelled by passion by everyone involved, from the young cast, the creative team, the larger crew, and the entire team at BYMT, and it's safe to say it's a production to be proud of.

★★★★☆ (4*)

Gifted tickets in return for an honest review