To Be Frank Q&A : Michael Hockey's Monster Takes Centre Stage

Forget the scientist, To Be Frank is the monster's story. Blending clowning, physical comedy and a live electric guitar score, Michael Hockey's inventive Fringe show breathes new life into a literary classic. We sat down with Hockey to find out more.

Frankenstein has been reinterpreted many times; what was your way in, and what did clowning unlock that a more straightforward adaptation couldn't?

Frankenstein’s monster gets thrust into being, fully formed; he doesn’t know a thing. He’s basically a little kid in the body of a big unpredictable beast. I think this is a brilliant pairing with the art of clowning around. A clown discovers every moment for the first time, simply and sincerely and Frank’s a monster discovering what it is to be alive, moment by moment. That’s my way in, through the monster’s eyes. I think of it as Frank's opportunity to share his side of the story, so if you're coming in looking for a classic adaptation, you're going to be left a bit shocked. This is Frank's story, not Frankenstein's.

Frank is born on stage into a body he doesn't understand, so how did you go about physically building that character, and how long did it take to find him?

So I found this character in a Bouffon workshop; it’s a deeply obscure form of clowning that relies on satire, a wicked wit and playing within malformed and distorted physicalities. No matter what I tried, nothing seemed to quite work for me, and then my teacher suggested I try coming out as “a monster, like y’know, Frankenstein”. I decided not to take it as an insult, gave it a go, got some laughs, and it clicked. My love for the big green guy was born. I happen to be a fair bit taller than average, so I found if I pair that with a cubic meter of padded shoulders, add in a whole lot of physical tension and pretend that each limb has a bit of a mind of its own, I make a convincing monster.

The show is non-verbal but the audience directly shapes Frank's evolution through their reactions. How different can two performances feel depending on the crowd?

The great joy of performing this piece is reacting to what each different audience brings. Throughout all my shows so far, not one has been the same. The themes, narratives and story beats are there every night, but the journey in between is entirely dependent on the fun to be had in the moment with you - live! Every audience member brings their own relationship to the monster, and that's exactly what I am after; an authentic reaction that shapes what Frank learns about humanity. Is he something to be feared, laughed at or empathised with?

The green balloon puppet arrives midway and shifts the whole emotional register of the show — how did that element come about?

Funnily enough, after finding the character of Frank, it was the balloon that came next. I began to wonder what would happen if he created some life of his own. After testing a few options, I found that the monster breathing life into a bright green rubber balloon felt the most right. Balloons are fun after all; they're simple and they’re brilliantly unpredictable. But beware of what I’ve dubbed ‘Chekov’s balloon’. Once a balloon gets blown up in the show, at some point, it’s got to pop. I guess clowns really can’t stay away from playing with balloons no matter how contemporary they try to be.

Alanna Hall is capturing every stumble and jerk of Frank's body live on electric guitar; how did you develop that relationship between movement and sound?

Oh, this was such a joy to create. The idea of the soundtrack for Frank being an ear-splitting electric guitar was an idea that came early, thanks to the iconic moments of lightning that shock our character to life in the films. Then from there it was a series of ‘jam sessions’ with me exploring specific physical moments from the show, working to find the right strum, sound or effect to match. If Frank breaks his leg, we find a sound for that; if the balloon speaks softly, we find a special sound for that.

It’s brilliant working with such talented musicians, because although we’ve got a plan and beats we’ve got to hit, the show is wildly unruly so they’ve got to follow the monster wherever it goes.

This is your Edinburgh Fringe debut as a creator and performer. What has it been like preparing to bring the show to one of the world's biggest international festivals?

Honestly, it’s been a brilliant cocktail of excitement and a healthy dose of apprehension. From my experience attending the Fringe, I’ve seen it as a somewhat mad, magical place that can also be quite brutal. What I’ve enjoyed the most is finding connection and support with the other artists, producers and venue staff who are somehow making it happen. We’re all just out here to put on a good show after all.

I do have to pinch myself sometimes; I’m a silly guy from the middle of New Zealand. How did I end up performing as a big green monster in the world’s largest performing arts festival? Your guess is as good as mine.

TO BE FRANK is at Pleasance Courtyard, Bunker 3, 5 – 30 Aug (not 12,19 & 26), 14:05. Ticket information here: TO BE FRANK | Edinburgh Festival Fringe