Mary Shelley’s novel has inspired countless adaptations in various forms. What might audiences be surprised to discover about this one?

VICTORIA: I think audiences might be surprised by just how demanding this production is. It asks an enormous amount of our young performers emotionally, musically and physically, and requires an incredibly broad skill set. The storytelling is ambitious, but what makes it particularly exciting is the way voices and bodies come together to build the world, with multiple performers creating and shaping characters, moments and experiences together, rather than relying on one person to carry the whole story. There is something incredibly powerful about that collective energy, and it is something that a company like BYMT is uniquely placed to achieve. It means the storytelling can shift and transform in an instant, and when all those voices and bodies come together, it really packs a punch. I think audiences will be surprised by just how visceral, physical and immediate this version feels.

At the heart of the show is the question of who society chooses to fear, reject or dehumanise. Why did that theme feel important to lead with?

VICTORIA: It feels particularly relevant now because we are living in a time when it can be very easy to divide people into us and them, and to fear what we don’t understand. We wanted to question that instinct and to hold a mirror up to ourselves by asking what responsibility we have towards one another. We explore how rejection, isolation and a lack of compassion can shape people and their actions, and ways that small acts of kindness can change a life, even though our characters don’t always recognise or act on those opportunities. I hope the audience leaves with a greater sense of curiosity, empathy and responsibility for how we see, understand and treat one another.

The show features an almost continuous score. How does the this shape the audience’s experience?

JIMMY: There’s a relentless, non-stop feel to the score. My aim has always been a visceral delivery of music to mirror the raw anguish inflicted on the subjects of the story, the turmoil in each decision they make, and the deep regret and pain the consequences of human choice can inflict.

What can audiences expect visually from the show?

VICTORIA: Visually, the show is unapologetically gothic, full of contrasts and atmosphere. There is blood red against deep shadow, beauty alongside something unsettling – a world that should feel both familiar and strange at the same time. The themes and stakes within the piece are epic, and we are exploring those through a beautifully simple design that allows the power of the story to come from the work of our wonderful young company. Rather than overwhelming the audience with spectacle, the design creates a space in which the performers, their bodies and their storytelling can take centre stage. It is a visual world that feels dark, visceral and atmospheric, but ultimately lets the human story (and the extraordinary young people telling it) do the heavy lifting.

The original production has a special place in BYMT’s history. Does that legacy add an extra layer of excitement to this revival?

JIMMY: One of the original cast is now one of the biggest pop stars in the world, one is a major podcast influencer, one is an internationally renowned operatic soprano, lots of them became renowned performers in musical theatre and screen, one is a top theatre producer, there are directors, managers, business owners, teachers, (and one is a Doctor in Geneva, ironically) and so on. The original production has a special place to me because we can see the results of projects like this. The excitement now lies in what happens to these young performers, and which one of them might become the next Ed Sheeran.

What conversations do you hope audiences will have after they leave the theatre?

JIMMY: I think audiences will be blown away by the sheer talent of the young people on stage. Whilst it is important to craft a strong piece to give them the best experience and materials for showcasing their skills, this organisation is for them. So many themes from the show can be mirrored in our everyday lives, but we don’t want to tell audiences what to think, it is up to the audience to decide what the piece means to them.

 

Book tickets to see Frankenstein at Greenwich Theatre from 28-30 August 2026!