{"id":377084,"date":"2025-09-23T20:24:39","date_gmt":"2025-09-23T20:24:39","guid":{"rendered":"https:\/\/dctheaterarts.org\/?p=377084"},"modified":"2025-09-24T01:02:48","modified_gmt":"2025-09-24T01:02:48","slug":"haunting-site-specific-ambiguity-in-mary-shelleys-monsters","status":"publish","type":"post","link":"https:\/\/dctheaterarts.org\/2025\/09\/23\/haunting-site-specific-ambiguity-in-mary-shelleys-monsters\/","title":{"rendered":"Haunting site-specific ambiguity in \u2018Mary Shelley\u2019s Monsters\u2019"},"content":{"rendered":"\n

A small, nondenominational chapel situated in a cemetery inspired playwright Bob Bartlett to stage a new play in it featuring Mary Shelley, who, at the age of 18 in 1816, wrote the novel that became the science fiction phenomenon Frankenstein.<\/em> Bartlett started simply with a title, Mary Shelley\u2019s Monsters.<\/em> He envisioned, as he has written<\/a>, a \u201chorror play\u201d that \u201cwould in some way bring Shelley face-to-face with her creations.\u201d<\/p>\n\n\n\n

The enigmatic execution of that promising premise can now be experienced firsthand in the Chapel of the historic Congressional Cemetery in an immersive performance that stretches the imagination the way that a great classical poem does: it is rich in poetic diction and arch syntax, rife with evocative imagery, and abounding in aphorisms and epigrams that cumulatively invite audiences to connect their own experiences and emotions and infer their own meaning.<\/p>\n\n\n

\n
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Katrina Clark as Mary Shelley in \u2018Mary Shelley\u2019s Monsters.\u2019 Photo by Teresa Castracane.<\/figcaption><\/figure><\/div>\n\n\n

The story \u2014 which is not so much a plot as a cavalcade of poetic language \u2014 is given voice by two intensely visceral actors playing characters first authored by Mary Shelley: JC Payne as the scientist Victor Frankenstein and Jon Beal as the Creature. Their up-close physicality and vocal force are remarkable. Mary Shelley herself appears portrayed with inscrutable composure by Katrina Clark. Inside the chapel, with its eerie acoustics (episodically erupting in sound designer Kenny Neal\u2019s thunderclaps), director Alex Levy has crafted a hauntingly theatrical production using only the existing chapel\u2019s entrance, nave, and chancel along with the slightest of lighting effects: candelabras and sconces.<\/p>\n\n\n\n

I attended a matinee when warm, yellowed daylight streamed in through stained-glass windows. I imagine everything\u2019s creepier and chillier at night.<\/p>\n\n\n\n

Details from Shelley\u2019s life are referenced throughout in a kind of code. Her mother, the famous protofeminist Mary Wollstonecraft, died of an accidental infection ten days after giving birth to her \u2014 thus in Bartlett\u2019s script Mary Shelley calls herself \u201ca daughter who murdered a mother.\u201d The line takes on ironic resonance as it is delivered under the chancel arch, which bears the inscription \u201cI am the Resurrection and the Life.\u201d Similarly alluded to in the script \u2014 and echoed in sounds of youngsters \u2014 are the three of Shelley\u2019s four children who died in infancy or early childhood. In a profound sense, mortality and motherhood are intertwined in Mary Shelley\u2019s Monsters<\/em> in death\u2019s embrace.<\/p>\n\n\n

\n
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JC Payne as Victor Frankenstein and Jon Beal as the Creature in \u2018Mary Shelley\u2019s Monsters.\u2019 Photo by Teresa Castracane.<\/figcaption><\/figure><\/div>\n\n\n

This, to my mind, is the biographical context of the drama that Mary Shelley devised in Frankenstein<\/em> and that Bartlett has borrowed from fascinatingly in his magnificently meditative treatment of it. With the two male characters, Victor and his cobbled-together creation, the play returns again and again to the contrast and tension between Victor’s masculinist creation of \u201clife\u201d as if an omnipotent father-god \u2014 which leaves the \u201cson\u201d his Creature in lifelong rage and woundedness (\u201cWhy have you created, yet forsaken me?\u201d) \u2014 and a young woman\u2019s grief at the death of her babies and the mother who bore her.<\/p>\n\n\n

\n
\"\"
Jon Beal as the Creature and JC Payne as Victor Frankenstein in \u2018Mary Shelley\u2019s Monsters.\u2019 Photo by Teresa Castracane.<\/figcaption><\/figure><\/div>\n\n\n

About two-thirds of the way through Mary Shelley\u2019s Monsters,<\/em> the performance switches gears from what had been somewhat stentorian recitation to a broadly comic play within the play: a sketch comedy that the three players call \u201cThree Days in Geneva.\u201d This passage is loosely based on Mary Shelley’s \u201cstaycation\u201d with her randy paramour (and later husband), the poet Percy Bysshe Shelley, and her stepsister, who together visit Lord Byron and his physician \u2014 the three actors anticly playing the five roles. To amuse themselves, they compete to see who can tell the best ghost story, and the teenage Mary Shelley (here called \u201chistory’s very first goth girl!\u201d) comes up with a \u201cbetter scary story than the boys.\u201d Thus was born her existential inquiry into the disastrous consequences of a man who tries to make a man.<\/p>\n\n\n\n

At one point, Mary cherishes and sings sorrowfully to a puppet child as if her creation, and at another, she regards an action figure movie monster as if with regret. Her character has a backstory that is real; the play’s two other characters\u2019 origins are solely fictional. With a playwright\u2019s egalitarian allyship to his characters and in an ebullience of eloquence, Bartlett has imagined all three in ways that taunt our understanding and tantalize our interpretation.<\/p>\n\n\n\n

Running Time: 85 minutes with no intermission.<\/p>\n\n\n

\n
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DC Theater Arts<\/figcaption><\/figure><\/div>\n\n\n


Mary Shelley\u2019s Monsters<\/span><\/a><\/u><\/em> <\/strong>plays through October 12, 2025 (Thursdays, Fridays, and Saturdays at 8:00 PM and Saturdays and Sundays at 2:00 PM), at Congressional Cemetery, 1801 E St SE, Washington, DC. Tickets are $35 and can be purchased online.<\/span><\/a><\/u><\/strong> <\/a>Some content may not be appropriate for children.<\/p>\n\n\n\n

This performance will happen in the Chapel at Congressional Cemetery, which is a brief walk from the main gate. Attendees will receive an email the day before their scheduled performance with reminders and updates \u2014 and will be asked to gather outside the chapel doors. Attendees do not need to bring a printed ticket to the gate: names of attendees will be on a registration list.<\/p>\n\n\n\n

Because of the uniqueness of the venue\/performance space, the production seats only 50 guests per performance. Seating (unpadded) is provided in the chapel.<\/p>\n\n\n\n

The program for Mary Shelley\u2019s Monsters<\/em> is online here.<\/a><\/p>\n\n\n\n

Mary Shelley’s Monsters<\/em><\/strong>
By Bob Bartlett<\/p>\n\n\n\n

CREATIVE TEAM
Directed by Alex Levy
Sound design by Kenny Neal
Costumes, props, puppet by Bob Bartlett
Mask design and construction by Jon Beal<\/p>\n\n\n\n

CAST
Jon Beal as the Creature
Katrina Clark as Mary Shelley
JC Payne as Victor Frankenstein

SEE ALSO:
Playwright Bob Bartlett on adapting \u2018Frankenstein\u2019 in Italy<\/a><\/strong> (feature by Bob Bartlett, September 11, 2025)<\/p>\n\n\n\n

 <\/h3>\n\n\n\n

 <\/h3>\n","protected":false},"excerpt":{"rendered":"

Staged in a chapel in a cemetery, Bob Bartlett\u2019s new play is a magnificent meditation on life and death and women and men. 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