I’m thrilled they’ve included classic sci-fi horror in the Fringe. In The Call of Cthulhu presented by North Shore Productions, under DeLisa M. White’s direction, Greg Oliver Bodine brings H.P. Lovecraft’s classic horror short story to the stage in the form of a 75-minute monologue, which he adapted from the original himself. Lovecraft’s original story is told from the perspective of narrator Francis Wayland Thurston, who relays to the reader his grand-uncle’s recorded stories of a horrible creature and its fanatic religious cult, the existence and rise of which seem connected with mass global hysteria.
In the original story, we know that Thurston is deceased, having been killed by Cthulhu’s cult: his final lines are “Let me pray that, if I do not survive this manuscript, my executors may put caution before audacity and see that it meets no other eye,” and we are other eyes. RIP.
In Bodine’s adaptation, we see Francis, now called only Francis “X,” in a mental ward: specifically, Arkham Sanitarium in Massachusetts. He has been asked to address the asylum’s inaugural A.P.A. conference about what his doctors have labeled his “delusions” about the existence of this creature. And of course, they probably have little interest in the content of his claims: they merely want to behold how truly intricate this man’s delusions are. It is wonderfully dark, thought-provoking, and even — annoying critic term incoming — timely to see such an intelligent man so clearly about his wits, an educated truth-teller, dressed in his ward clothes in an asylum where he is treated as delusional and even subhuman. What an original and fascinating idea and concept for adaptation, and what a harrowing image to behold.
But we’re beholding that same image for 75 minutes.
Unfortunately, there just isn’t enough that’s been done here to adapt the text for the stage. There are occasional sound effects and dramatic music every now and then — and even these begin, end, and pause jarringly at times — but there is simply not enough to make the text enough for an engaging multi-dimensional theater show. Also, these sound effects and graphics feel too framed for the audience’s perspective as we revel in the creepiness of the narrative as opposed to diegetic, and thus don’t match the rest of the production elements, which are solidly diegetic. Creepy font, cartoony dramatic music, and sound effects feel beyond what this wrongfully incarcerated man would be in the mood to include in his presentation, both in terms of tone and anachronistic issues.
And I understand that there are limitations on Fringe shows. After all, this production is being done in the Fringe’s “Bliss” venue, which is the vacant first floor of a former Talbots (so cool). But surely the actor who played Dr. Bonner, who walked Francis “X” out on stage at the very start of the show, could not leave right away, and at least sit there for the duration of the 75 minutes and make mocking comments, or even just facial expressions. And if Francis has been confined and isolated in this ward against his will, speaking to an audience of people oblivious of a clear and present danger, why is he so at peace with the whole thing? Why would he not even mention that he might be a little tiny bit bothered in his entire presentation? And the bloody gauze around his hand is a great start to show he’s battered and bruised from the asylum’s abuse and neglect, but the rest of him looks perfectly coifed.
The production is already making some changes to adapt the text — the adaptation work here just needs to be taken to completion to support the fantastic framing device at play.
Running Time: 75 minutes
Genre: Solo/Drama
Dates and Times:
- July 20 at 6:00 PM
- July 21 at 11:35 AM
Venue: Bliss, 1122 Connecticut Avenue NW
Tickets: $15
More Info and Tickets: The Call of Cthulhu
The complete 2024 Capital Fringe Festival schedule is online here.