Editorial Disclosure: DCist Jason Linkins has a supporting role in this production

Quite a few interpretations of Mary Shelley's Frankenstein have been gracing the D.C. stages lately. Round House Silver Spring has a take, and we were impressed with the lyrical, atmospheric vibe that Synetic Theatre's production captured in September.

While Rorschach Theatre's most recent effort may not have the same melancholy moodiness that Synetic achieved through striking set design and choreography, the work still offers us something new. Their production of Neal Bell's Monster takes an entirely new look at central character of Victor Frankenstein. And when we peer into this man's soul, we don't like what we see.

The fascinating new play, told largely through sometimes chronologically-confusing flashbacks, gives an incredibly withdrawn, dispassionate persona to the title character. Think stereotypical serial-killer prototype. The man dissects his childhood pets, much to the dismay of his world-weary mother (Nicola Daval, with a nice, natural take on a small role). His attitude to those closest to him can be viewed as a clinical curiosity, at best. If he has a passion for science, it's more a fixation than a calling. And when the story takes an interesting turn by setting Frankenstein's life-tinkering experiments in the family's cellar, bringing Victor this much closer to his relatives only demonstrates how much his work distances him from those around him.

Other small touches set this play slightly apart from the traditional takes on the story. Victor's relationship with his father, usually a distant, imperious figure who challenges his son, has become much more casual and relatable, aided by Jason Linkins' comfortable, accessible portrayal. Victor's friendship with Clerval (Jon Reynolds), by contrast, has hardly been simplified (the friend is now a lover), and the energy between the pair may be Victor's clearest display of humanity. The expansions on the female roles are a mixed bag — adding flaws and sex appeal to the minor character of Justine the maid (a self-possessed Tiernan Madorno) is a bonus; turning Elizabeth (Lily Balsen) loopy and shrill isn't interesting for long. In general, the play doesn't get too weighed down by its heavy themes and leaves room for a frequent light touch in its dialogue, awarding us with brighter moments such as the energetic innocence that Victor's brother William (Ryan Nealy) conveys when he's on the scene.

What to make of the changes? Monster becomes much more of a character study than an epic, grandiose work. While the creepy Frankenstein (Jeremy Goren, frequently phlegmatic and consistently engrossing) hardly inspires our allegiance, the monster is no automatic subject of pity, either. Robert Rector's creature has almost an ironically gentlemanly air about him, but he is much more scary than civilized — he reeks of danger as much as he reeks of death, and his deeds quickly turn us against him, despite the inhumanities he has suffered. This play does not add up to a mere cautionary tale against morally-questionable science. Monster is most riveting for displaying the way a family can be torn apart when one of its members is just a little bit off. It's a reality show starring an extended family that we actually want to watch: "Mom, There's A Body In The Basement."

Monster runs through Nov. 26 at The Sanctuary Theatre in Columbia Heights. Tickets are available online.