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| Cast | |
| Baron Von Frankenstein | Alan Goodwin |
| Baroness Von Frankenstein | Pam Sage |
| Count Dracula | Ian Saxton |
| Countess | Helen Bezer |
| Harry Talbot | Sam Oatley |
| Isabel Channing | Linda Gay |
| Frau Lurker | David Hampton |
| Ygor | Tony Donnelly |
| The Monster | Paul Lay |
| Phantom | Danny Grimwood |
| Crew | |
| Stage Manager | Christine McKeon |
| Assistant Stage Manager | Stephanie Dungate |
| Set Construction & Painting | Mick Wright, Steve Grubb |
| Properties | Janis Moss, Roz Betts, Maureen Hardwen |
| Lighting | Jerry McKeon, Bernard Tilley |
| Sound | John Buckle |
| Music & Dance Arrangement | Roz Betts, Sam Oatley |
| Programme Artwork | Eleanor McEnery |
Special properties courtesy of Paul Knight and Lawrence Chitty.
Review
Frankenstein's house shuts out the horror
The Edward Alderton Theatre, Bexleyheath, has opened its new season with a production of a work that is billed as a comedy horror play. In reality, it is more farce than comedy, and the horror is non-existent. Certainly, there are those that need to rest their brains and forget about the traumas of everyday life who will find the action so undemanding that they can actually enjoy the work. Others might cringe at the absurdity of the almost invisible plot.
Martin Downing's The House of Frankenstein brings together a host of characters from bygone horror movies, including Dracula, the Wolfman, Quasimodo, Baron Frankenstein and, of course, his monster. Frankenstein has switched his skills from the creation of life and has decided to rid other monsters of their unpleasant characteristics and make them reasonably human. Unfortunately, he is no longer the man he was and fails miserably in his ambition.
A superb set creating the Baron's atmospheric castle, complete with body bits in jars, a giraffe roasting on a spit and a Dalek lurking in a corner is truly promising, as are the opening sequences which are very funny. Good and bad jokes are used far too many times and the action keeps losing its zip and pace. However, there are sudden bursts of very creative humour to make up for the less impactive elements of the show and the lighting and sound effects are first-class. Director Roz Betts, with the use of strobe lighting and the creation of some outstanding characters, still achieved a nearly impossible task in trying to turn the play into something of consequence.
Roy Atterbury
Kentish Times | 17 October 2002
