‘Frankenstein’ set is full of surprises

"Frankenstein" opens Thursday, Oct. 27, at the South Arkansas Arts Center in El Dorado.
"Frankenstein" opens Thursday, Oct. 27, at the South Arkansas Arts Center in El Dorado.

South Arkansas Arts Center

South Arkansas Arts Center is bustling with activity preparing for the opening of “Frankenstein” on Oct. 27..

The stage is being “brought to life,” as well as the Creature himself and all of the creepy and fantastical aspects of Dr. Frankenstein’s laboratory and home are being constructed to give the viewers the most amazing stage and show they have seen. You will feel you are part of the show when one of the characters actually dies right in front of you on the stage that has been built out into the audience!

Director Del Gates and assistant director Gary Hall had a vision for this stage from the outset and thanks to master carpenters Justin Howard and Shawn Dartez, their vision is becoming reality. Both Gates and Hall have directed this play before and knew what they wanted and didn’t want this time around. They have honed it to a fascinating and realistic looking set which will surprise and frighten the audience at the same time.

The set design is extremely unique due to the fact that there are really three stages being used in this production.

The first, which is constructed out into the audience, is an extension of the outside of the Frankenstein manor, where many conflicts arise and deaths occur during the play. If the viewer has any knowledge of this story, they will know that there are many deaths, with only three of the characters being alive in the end.

The second level of the stage consists of the living and bedroom quarters of the manor. Its look is consistent with the Victorian era in which the story is written and also showcases some handiwork of two SAAC visual artists and friends, Sandy Bennett and Charlotte Phillips.

“We wanted to promote art with the show. We chose to create tapestries as backdrops to the Frankenstein Chateau. The tapestry of Prometheus chained to a rock is in reference to the book’s subtitle, ‘The Modern Prometheus,’ which is alluded to several times in the show. Prometheus was punished by the gods for bringing fire and the secrets of math and science to man,” Hall said about the paintings. “The second tapestry is of Adam and Eve in the Garden of Eden. It is this story that prompts the Creature to think about a companion. It also has to do with man’s attempts to create life and discover the secrets of life. The other two paintings are Victorian in nature and meant to suggest the interior and exterior of DeLacey’s home,” Hall said.

One of the creepiest and most authentic aspects of this production is the laboratory of Dr. Frankenstein. It is the last and highest elevated stage with huge French door windows. The lab is decorated with all manner of glass beakers and pipettes, skeletons and old books, along with Dr. Frankenstein’s frantic scribblings on the wall. The lab is complete with a Jacob’s Ladder, built by Jack Wilson and his nephew. (A Jacob’s Ladder is a high voltage climbing arc. An electric spark jumps between two parallel wires and the spark then “climbs” up the ladder.)

When asked about the construction of the piece, Jack Wilson said, “Ben Wilson, my nephew, is an electrician and I have seen him do some crazy things with electricity. When we started planning for ‘Frankenstein,’ I thought he might be able to build us a Jacob’s Ladder. So, I called him and he didn’t hesitate. He said he’d love to help out and had made one before. He got all the parts pulled together and borrowed a 12,000 volt neon transformer. All it really takes to build one is a few parts and the knowledge of how to actually put it together. The two of us built it in my brother Burney’s shop. When he had it done, my brother and I went to the far corner of the garage – electricity scares me – and we were amazed that it worked the first time he plugged it in!”

They brought it to the SAAC and originally wanted to put it on the laboratory stage, but due to safety reasons for the cast and crew, they decided it would be best to put it below that part of the stage.

Another fascinating aspect of this show, as one can imagine, is the makeup, with the Creature obviously being the focus of a lot of time consuming work. Hall will be doing his “look” and, of course, wants it to be a surprise to the audience when he first appears. “It will take at least an hour to do nightly. Matthew Cordell is a very willing and eager subject. He is simply a corpse that has been reanimated. He has had a new brain and heart put in his body. Victor is not a doctor and so his surgical skills are crude at best. It is his appearance that inspires fear in others and consequently teaches the Creature what he learns about humans and ultimately defines the course of his existence, which is one of loneliness and repulsion. Imagine a child with only that for his basis for human interaction and you see why the Creature is dangerous.” Spooky, indeed.

April Hoover has worked her set magic in the scene shop at SAAC and has built some incredible appointments to the stage scenery. She was tasked with creating a Victorian era mausoleum and has pulled it off amazingly from insulating foam and wine corks!

“Its just willing suspension of disbelief,” she said and then went on to explain that that is theater jargon for your eye choosing to believe what it sees. April is a master of creating something out of nothing and has the recycled stage junk to show for it.

One part of this production that has proven to be a challenge is that many of the characters have had to learn stage combat. With many years of experience under his belt, Howard has been in charge of teaching this talent to the actors. He has been practicing the art of stage combat for 17 years and has taken classes at Louisiana Tech University in Ruston through the years to keep current. With so many deaths on stage in this production, the directors felt it was important to have the scenes be as believable as possible, so lessons were an integral part of the behind the scenes practice.

Beth James Burns, executive director at SAAC, said she is looking forward to seeing the production come to life. ”I’m really excited about this play. There are so many smart and talented people working on it!”

To be entertained by this important literary and philosophical thriller as well as have the wits scared out of you, call the SAAC to reserve tickets at 870-862-5474 or visit the website at www.saac-arts.org.

Tickets are $20 for the general public, $10 for SAAC members and $5 for students. Special effects for the production include the use of flashing lights, smoke and a gun shot. “Frankenstein” is sponsored by Simmons Bank. SAAC is located at 110 E. Fifth St., El Dorado.

Upcoming Events