It's Alive! Frankenstein at the Albany Theatre

Frankenstein at the Albany Theatre, Coventry. 11 March until the 14 March 2026. Adapted by Nick Dear and directed by Alex Shinnick

Review by David Court

Frankenstein Poster

Considering the source material — originally published anonymously — is now more than two centuries old, there has been a notable resurgence of interest in this cobbled-together collection of dead parts. Last year saw Guillermo del Toro release his own take on what is arguably one of the earliest works of science fiction, and this week has also seen the cinematic release of The Bride, an original spin on the myth that blends Frankenstein with Bonnie and Clyde. The first production from the Albany Theatre’s in-house company, ACT (Albany Creates Together), opened on 11 March with Nick Dear’s adaptation of Frankenstein, performed by a cast of local actors.

The play begins with a stark, minimal scene: a misshapen figure suspended from a metal gantry. A bolt of lightning strikes — realised through striking lighting effects — and the figure collapses to the floor. What follows is a compelling sequence as the creature awakens, slowly acquainting himself with his own body and navigating the world with the tentative curiosity of a newborn. Abandoned by his creator, he is quickly met with fear and revulsion from those he encounters, shunned by society and driven into isolation.

James Hunter as the Creature. Photograph by David Court.

James Hunter is impressive as the creature. His initial monotone delivery and stiff, awkward movement gradually evolve as the character develops in both intellect and strength. The story itself is, of course, deeply familiar — a narrative so firmly embedded in popular culture that its imagery and themes feel almost universal — yet this adaptation offers an intriguing shift in perspective. Rather than foregrounding the act of creation, the play centres the narrative firmly on the creature himself, positioning him as the emotional and philosophical core of the drama rather than Victor Frankenstein, the failed Promethean figure.

The supporting cast — drawn from local performers — acquit themselves well, despite the occasional trace of first-night nerves. The production design, relying largely on projected imagery, is abstract but effective, while the lighting and sound design prove particularly strong throughout. A raging inferno effect in the first half is achieved with admirable simplicity yet proves strikingly effective. The opening act is perhaps a little slow to gather momentum, and some of the mob confrontations with the creature feel slightly tentative, but the production remains consistently engaging.

Daniel Peckett as Victor Frankenstein. Photograph by Albany Theatre.

The second half opens with the long-awaited confrontation between creator and creation. Victor — a self-proclaimed god who has abandoned his own work — is finally forced to face the consequences of his ambition. The encounter crackles with energy, presenting a confrontation that is as much metaphysical as it is physical. Hunter and Daniel Peckett, as Victor Frankenstein, are both excellent here; the tension between them holds the audience in rapt silence.

Also worth mention is a dream sequence in that first half that offers a delightful nod to Elsa Lanchester’s iconic Bride of Frankenstein, a moment that blends homage with imagination. It is one of several touches that demonstrate the production’s thoughtful engagement with the legacy of this endlessly adaptable story.

Overall, this is a confident and assured retelling of a classic tale, brought vividly to life — no pun intended — by a committed cast and a production team making the most of the Albany’s resources. Like the creature himself, it is more than a sum of its parts and is an impressive debut for ACT - and a promising sign of what the company may achieve in the future.

For tickets and to see what else is on at The Albany Theatre: https://www.albanytheatre.co.uk/whats-on/drama/