A Man. A Monster. A Match Struck in the Dark.

Like everybody else, I had some general idea that Frankenstein was a Monster and my mental images of what the story was about did not really go past the idea that a crazy doctor created a monster from dead body parts. It was not until I was at University that I actually engaged with the text. I literally fell in love with the Monster and the monologue he delivers to his creator to grant him some happiness by creating a female for him.

I have now read the story a number of times and find such deep layering in the personal stories of Frankenstein, Captain Walton and the Monster. I now view the text as a cautionary tale about the dangers of playing God and the consequences that will inevitably follow. Walton and Frankenstein are both full of pride and ambition and this ultimately blinds them and makes them insensitive to those who are closest to them. Pride turns us into monsters, and the monster in this text is ironically the one character who has the most humanity.

— By Ignatius Productions

I have adapted the text so that Captain Walton acts as the narrator who discovers Frankenstein, writes down his story, but ultimately realises that he can choose to create a more hopeful narrative for himself. Walton thus personifies all members of society who can see the emptiness of pride and choose hope and humility in order to regain their humanity.

This adaptation revolves around the interior world of Frankenstein, the Monster and Walton. Poetic license was given to Walton in order to flesh his character out to help the audience see how his ambition to be a famous explorer mirrors Frankenstein’s desire to be an admired scientist.

I have used minimal props, simple costume changes and a soundtrack that suggests the loneliness of the sea and climaxes in a jarring, nightmarish theme to highlight the inner torment and anguish of Frankenstein as he drives himself to madness and his own demise.

I have focused on highlighting the emotions of each character through passionate and intimate monologues with the audience. It can be staged anywhere without any fuss and due to the intimacy of the performance, the audience feels engaged with the journey of each person.

The show runs for about 45–50 mins and I am free for a Question and Answers session after each performance. I love the text, love performing it and believe that this story is a timeless classic that should be accessible to as many people as possible.

— By Ignatius Productions

Ross trained at Swinburne University and NIDA, before creating, directing and performing in the Comedy Ensemble Galloping Cow, which entertained many audiences on the Melbourne Comedy Circuit in the early 90s. The group were resident artists at The Planet Cafe in Fitzroy in 1994.

Ross was employed as a Drama teacher for the last 20 years, staging high quality school productions and still performed stand up comedy on the side.

In 2017 Ross completed his Masters of Professional Practice in Performing Arts through USC, which focused on Physical Theatre and was heavily influenced by the philosophy of Zen Zen Zo. He now works as both a professional actor and teacher.

Ross has been trained in many theatrical disciplines and can easily switch between clown work to Shakespeare, from comedy to drama and from surreal physical theatre to minimalistic realism.

Frankenstein is Ross’ first one‑man show, condensing all his skills and knowledge into an affordable and engaging package, aiming at bringing this wonderful text to life in a way that is visceral, personal and profound.

As an English teacher myself, I have often found the high concepts of old literature difficult to fully explain. Through this play however I am able to clearly convey the themes and structures of the original Frankenstein through a fresh, attention‑grasping lens that will stay with students beyond the classroom.

Once a text is performed with feeling, passion and conviction it is much easier for a student to recall and understand the concepts that an author is trying to convey.