Frankenstein and the Lion of Nemea, Western Australian Academy of Performing Arts Aboriginal Performance ·
Enright Studio, WAAPA, 14 November 2022 ·

The future of First Nations theatre is looking strong, if the latest production from WAAPA’s Aboriginal Performance students is anything to go by.

Directed by Rick Brayford with assistant Helah Milroy, the department’s production of David Milroy’s Frankenstein and the Lion of Nemea is compelling.

First presented in 2007, this play has lost none of its relevance. Mixing a bit of mythology and Mary Shelley with science and climate change denial, the story unfolds dramatically, highlighting human greed and deprivation.

The action is set in a futuristic world, at a birthday party complete with little hats and whistles. But the celebrations descend into chaos and anarchy that unrolls over the weeks, allowing for gaol time and the building of monsters.

A foreboding set of ladders, ramps and boxes (designed by Joshua McNeill) and eerie but effective lighting (by Jolene Whibley) cleverly allows the cast of 12 to inhabit every available space in the Enright Studio. Moving so many bodies around in a small venue is no easy feat for a director but with Brayford’s experience and imagination it all flows smoothly. This is complemented by the work of movement director Simon Stewart who has the cast prowling elegantly and at times menacingly to the beat of a drum.

The story begins with the aforementioned birthday party. It’s for Clerval – played strongly and confidently by Theo Clarke – who bemoans what has become of the human race. The chorus seem to be ignorant to the tale he is telling as they play party games and sing happy birthday. It’s a reflection, perhaps, of the world today, or of Nero playing the fiddle while Rome burns.

The Lion of Nemea (Tristan Tucker) stalks menacingly into the space, putting a bit of a dampener on the party. The day is saved, at least temporarily, by Dr Waldheim (Lucy Arnall). With her trusty sword she beats the lion back into the shadows and becomes the hero of the party goers. With a power and presence that demands your attention, Arnall’s performance belies the fact she is in her first year of training, as are all cast members.

If science is the answer to their problems, then maybe Victor Frankenstein shouldn’t have been asked to provide the solution. Frankenstein, portrayed by TJ Wood, is an entertaining mix of bumbling professor and nerdy psychopath. His long-suffering wife (Elizabeth Narkle) plays second fiddle to his morbid love of his work with cadavers and the hideous monster he creates, (Mitch Walley). Our emotions oscillate between pity and abhorrence as we witness the monster’s journey.

As the story progresses and the competing forces who should be co-operating are still at odds with each other, the world decays into dust and mayhem, and another monster is created, albeit briefly. Revenge and violence seal the revellers’ fate. What started as a party is clearly going to end in tears.

The banter between protagonists, as they argue whether science, religion or trust in the authorities will save the planet, is intriguing and thought-provoking, adding a depth to this play that you mightn’t expect from the outset. It’s a lovely mixture of comedy and drama that allows you to laugh and think deeply at the same time.

I am often impressed by the quality of WAAPA productions, especially as most of the people involved are just at the starting point of their careers, and Frankenstein and the Lion of Nemea is no exception. Highly recommended.

Frankenstein and the Lion of Nemea continues until 16 November 2022.

Pictured top: The banter between protagonists, as they argue whether science, religion or trust in the authorities will save the planet, is intriguing and thought-provoking. Photo: Stephen Heath Photography