The Greatest Frogman *****

The likely inspiration for Mary Shelley’s Frankenstein is brought to life by the immensely impressive Grand Guignol de Milan at Catania Fringe.

Giovanni Aldini was a physics professor at Bologna University around the end of the eighteenth century. His pioneering work in the field of galvanism took him overseas and we meet him in early nineteenth century London.

Aldini is an academic by nature, having little in the way of performance skills. He demonstrates that the introduction of electrical current to dead tissue, in this case a frog, can galvanise movement. The audience, such as it is, remain unmoved.

His dismal attempts at engaging with the crowd are observed by Ada Hart. Hart is not there accidentally though. Her leg had been badly damaged following a fall, and she now walks awkwardly, with the aid of a stick. Her career as a dancer is in ruins and nineteenth century London unforgiving.

She has learned of his experimental work and offers him a simple trade. She will transform his failing lectures into theatrical performance, and coach him in the art of showmanship. In return, she asks him to work on her leg, hoping to restore its former capabilities. Her plan is to create the illusion that she is a corpse whom Aldini will bring back to life.

Aldini is initially dismissive, but Hart tenaciously persuades him that this minor and forgivable deception will bring his bona fide research to wider audiences. Their shows prove successful, with tours to other cities booked.

Aldini’s scientific connections lend the story an additional historical dimension. He was associated with Luigi Galvani, whose name gave us galvanism, and Alessandro Volta, inventor of the battery, whose surname lives on in the unit of electrical potential. Volta, however, is a longstanding rival, and his denunciations alert the authorities to the subterfuge. Enter the Bow Street Runners…

The Greatest Frogman is a re-imagining and dramatisation of true events and the above narrative may have created the impression that the production is dry, academic, esoteric even. Nothing could be further from the truth, however, the show blending drama, movement, storytelling and comedy.

Gianfilippo Maria Falsina Lamberti skilfully conveys Aldini’s tentative, impatient and frustrated character. Lamberti is a supremely charismatic actor, his previous Grand Guignol de Milan work easily demonstrating this. Yet I found this performance revelatory, Lamberti showcasing his vast range of abilities, shining a light on Aldini’s fragility and vulnerability and revealing the human uncertainties beneath the scientific ambition.

Michelangiola Barbieri Torriani is another stalwart of the Milan based company, but here she occupies centre stage as Hart. Her performance is mesmerising. As she moves between physical impairment and the grace of a dancer, she draws the audience into her world hypnotically. She displays considerable finesse in cajoling Aldini, juxtaposed with stillness and introspection. Later, as Hart finds herself at the mercy of the police, Torriani exposes a more vulnerable side of her character.

There is also fine support from Nelson Mallè Ndoye as Barker, injecting energy, pace and warm humour to proceedings. He also was responsible for selecting some audience members for participation in crowd scenes, an interesting addition, which injects a dynamic layer to the performance and blurs the boundary between stage and auditorium.

At the heart of The Greatest Frogman, though, is the notable chemistry between Lamberti and Torriani, as they develop a professional and personal relationship. This punctuates, propels and, of course, galvanises the production. It is to be hoped that this captivating and memorable show can be brought to wider audiences in the UK and beyond.