Frankenstein Education Pack

Contents
About this resource
Blackeyed Theatre
Mary Shelley
Note from the writer
Story
Plot synopsis
Characters
Casing
Adaptaionintheatreandilm
TheGothicNovel
Science
Faith Philosophy Feminism
Puppetry
Costume
Set
Watchingtheshow Postproducion
Crewbiographies
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19-20
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25-26
Blackeyed Theatre Ltd
SouthHillPark,Ringmead,Bracknell,BerkshireRG127PA
www.blackeyedtheatre.co.uk
1
About this resource
ThisresourceisdesignedtofullysupportourtouringproducionofMaryShelley’sFrankenstein, and provide you with
addiionalcreaiveandcross-curricularaciviiestoenhanceyourvisittotheproducion.ItisdesignedforKeyStages3
and4,butaciviiescanbeadaptedforotherages.
Theresourcecomprises3secions:
1
Pre-producion
Thisisthelargestsecionandcontainsnotesandaciviiestohelpyourgroupgettogripswiththeplaybefore
theirvisit;tothinkaboutthestoryandthemesandtoconsidercontemporarydramaicinterpretaions.This
contentcovers5keyareas:
o
o
o
o
o
Story
HistoricalContext
Characters
Themes
Producionnotes
Withinthesekeyareasyou’llindusefulinformaion,studentaciviiesandpracicaltasksthatyoucansetforyour
grouptodeveloptheirknowledge,skillsandaitudesabouteachtopicalongtheway.
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Watchingtheshow
Thissecioncontainsquesionsandaciviiesthatstudentscanengagewithduringtheirvisittoseethe
producion,tohelpmaximisetheirunderstandingandenjoyment.
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Postproducion
Thissecioncontainsguidanceforanevaluaionsessionfollowingtheproducion,basedonyourstudents’
criicalappreciaion.
Stretch
Theseboxescontainhigherlevelthinkingquesionstostretchandchallengeyourstudents.
Thesecanbeturnedintostudentaciviies,orusedforfurtherresearchandhomework.
Theyencouragestudentstomakeconnecionsbetweenthehistoricalcontextofthetextandcontemporary
eventsandglobalissues.
ThisresourcewaswritenbyLizAllumanddesignedbyDanielleCorbishley
withcontribuionsfromthecreaiveteam.
Formoreinformaionaboutthetour,oureducaionpack,orBlackeyedTheatreingeneral
please email us at [email protected]
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Blackeyed Theatre
BlackeyedTheatreisoneoftheUK’sleadingmid-scaletouringtheatrecompanies.Since2004wehavebeencreaing
exciingopportuniiesforaristsandaudiencesbyproducingtheatrethat’saudacious,accessibleandmemorable.
BlackeyedTheatrehastwoprincipalobjecivesthroughtheworkitproduces;toprovideaudiencesandaristswith
fresh,challengingwork;andtomakethatworksustainablebyreachingaswideanddiverseanaudienceaspossible.
Overthepastfewyears,BlackeyedTheatrehasbalancedthesearisicandbusinessobjecivesbycreaingnew,
exciingversionsofestablishedclassicsinuniquewaysandbyidenifyingarelevancewithtoday’saudiences.
Recentexamplesofthisincludethecompany’s2012producionofBrecht’sMotherCourageAndherChildren,which
touredacrosstheUKfortenweeksandincludedanewlycommissionedmusicalscore.TheproducionsetBrecht’s
storyinapost-apocalypicworld,designedtoestablishrelevancewith21stcenturyworldevents.
In2013,thecompanycommissionedabrandnewstageadaptaionofBramStoker’sDracula,whichincludedanew
musicalscoreandpresentedthestoryusingiveactormusicians.Presentedinahighlytheatricalway,usingpopular
formsofentertainmentandtechnologyemergingattheimethenovelwaswritenasstorytellingdevices,the
producionwasseenbyover10,000people.
In2014,Blackeyed’sproducionofNotAboutHeroesbyStephenMacDonaldtouredto45UKtheatres.Combining
newlycommissionedmusicandprojecion,thiswasahighlytheatrical,muli-sensoryproducionofanestablished
classic.
OthertouringproducionsincludeTheGreatGatsby(adaptedbyStephenSharkey),TheTrial(StevenBerkof),OhWhat
ALovelyWar(TheatreWorkshop),TheMadnessofGeorgeIII(AlanBennet),Alie(BillNaughton),TheCherryOrchard
(AntonChekhov),TheCaucasianChalkCircle(BertoltBrecht),theworldpremiereofOedipus(StevenBerkof)andThe
ResisibleRiseofArturoUi(BertoltBrecht).
In2009BlackeyedTheatrebecameanassociatecompanyofSouthHillParkArtsCentre.In2011BlackeyedTheatre
launcheditsirstnewwriingscheme,Pulse,withtheinteniontoprovideanewwriterwiththeopportunitytosee
theirworkproducedprofessionallyonstage.Thewinningplay,TheBeekeeper,wasperformediniiallyatSouthHill
ParkinBracknellbeforetransferringtoWaterlooEastTheatreinLondonforathreeweekrun,whereitreceivedthree
OfWestEndTheatreAwardnominaions.
Westrivetomakeourworksustainablebyproducingtheatrethataudienceswanttoseeinwaysthatchallengetheir
expectaions,bybringingtogetheraristswithagenuinepassionfortheworktheyproduce,andthroughanappreciaionthatitlesofworkwithawideappealcansillbeperformedinwaysthatpusharisicboundaries.
Inshort,it’saboutfollowingaudiencesbutalsoleadingthem,beingafordableandresponsivetodemandwhile
innovaingandchallengingexpectaions.
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Mary Wollstonecraft Shelley
Marywasbornin1797.Herparents,WilliamGodwinandMary
Wollstonecratwerebothwriters.Herfatherwasfamousforhis
revoluionaryideasaboutpoliicsandsociety,andhermother
wasapioneerinfeministwriing.Thenewandradicalideasof
herfather,motherandherfuturehusbandPercyShelley,along
withtheeducaionshereceivedandconinuedthroughouther
life would shape how she approached the world and her writing.
Hermotherdiedjust10daysaterMarywasborn.Lifewas
diicultforherfatherwhowasotenindebt,andMarydidnot
getonwellwithherstepmother,butformedaclosefriendship
with her step-sister Claire Clairmont.
WhenMarywas17,sheranawaywithPercyShelley,a
famous poet she had met two years before. He was married
to a woman named Harriet, and Percy and Harriet had been
friendsofMary’sfather.
MarygavebirthtoherandPercy’sirstchild,butsadlythebaby
diedtwoweekslater.Percy’swifeHarrietdrownedherselfin
1816.PercyquicklymarriedMaryandtheyhadthreemore
childrentogether,butonlyonesurvived.Marysuferedalotof
lossduringherlife,herhalfsisterFanny,threeofherchildren,
her parents, her husband and friends.
MaryShelley’sportraitbyRichardRothwell,
shownattheRoyalAcademyin1840
WhilstPercy,MaryandherstepsisterClairewerespendingthesummerwiththepoetLordByronin
Geneva, Frankensteinwaswriten.Theweatherwasbadandsothegroupspentmuchoftheirime
readingandwriingtogether.TheyparicularlyenjoyedworkingtheirwaythroughFantasmagoriana,acollecionof
Germanghoststories.
The story Mary composed, which later became Frankenstein,drewonrecentscieniicprogressoftheimeandthe
wriingsofLuigiGalvani.Galvaniwasaphysicistwhohaddiscoveredthatmusclesinhumanandanimalissueconduct
and react to electricity. Frankenstein or The Modern Prometheus waspublishedtwoyearslater,in1818.
PercyShelleydrownedinastormwhilstsailingnearItalyin1822.Marywasonly24andneverremarried.
Mary wrote many other books, as well as Frankenstein.Her1823novelValperga, was aicionalised
accountofthe14thCenturydespotCastracani,whoforcesthewomanhelovestochoosebetweenloveandpoliical
freedom. She chooses freedom. The Last Manwasanearlyscienceicionnovel,setina
post-apocalyicworld.Itrelectstheseveraldeathsshegrievedofliteraryfriends,andatacksthefailuresofthe
revoluionarypoliicalideasoftheimetobringaboutrealchange.
Shealsowrotemanytravelnovels,wasanaccomplishededitor,andwasinstrumentalinediingandpublishingmany
ofthepublishedcollecionsofherhusband’swriing.
Marydiedin1851attheageof53,mostlikelyfromabraintumour,thathadgivenheryearsofheadachesand
occasional muscle paralysis.
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Note from the writer
AdapingFrankensteinforBlackeyedTheatre
Anystageadaptaionofanovelshouldaimtocreateanesseniallytheatricalexperience.Inthiscase,morethan200
pagesofproseicionaretranslatedintotwohoursofliveperformance.Thereisnosuchthingasadeiniivestage
version,asanytreatmenthastotakeaccountofmanyelementsthatarepariculartoitsstaging:theresources
available,thecircumstancesofperformance,andthevaluesandexpectaionsofcompanyandaudiences.I’veworked
withBlackeyedTheatrebefore(onDraculain2013)andI’mfamiliarwiththeirapproach:asmallcastofmuli-skilled
performersuseelementsofspokentext,music,soundandvisualstocreatepowerfulperformanceeventsthatcanbe
touredtoawiderangeofvenues.SoI’vehadthecompanyverymuchinmindwhileworkingonthescript.
Sinceitsirstpublicaionin1818,Frankensteinhasinspiredmanystageadaptaions.Asearlyas1823RichardBrinsley
PeakewroteaversioncalledcalledPresumpion;or,TheFateofFrankenstein.Ittookgreatliberieswiththe
narraive,andmadetheacionandthecharacter-typesconformtothemelodramaicconvenionsoftheday:Victor
hadacomicassistant,calledFritz,ElizabethbecameVictor’ssisterandwaswooedbyHenryClerval.MaryShelley’s
framingnarraivewithJamesWaltonwascutcompletely.TheCreature(namedtheMonsterinPeake’sversion)was
notgivenanydialoguetospeak.Someofthestagingmusthavebeenspectacular:includingainalsceneinwhich
VictorandtheMonsterareannihilatedinanonstageavalanche,accompaniedbyloudthunderandaheavyfallof
snow.Thepopularityoftheshowinspiredthepublicaionofasecondediionofthenovel.Butthisversionfor
BlackeyedTheatreusesaverydiferentapproach.
Werespectthenovel’smuli-layeredwayoftellingthestory.FrankensteiniscarefullyconstructedlikeasetofRussian
dolls:ithasastorywithinastorywithinastory.AtthecoreofthebookistheCreature’saccountoftheexperiences
thathaveformedhim,andweincludeit,toldintheCreature’sownwords.OnestrengthofthenovelisthewayMary
Shelleyusesherstorytoexplorecomplexethicalissues.TheCreature’svoiceiscrucialtothis.
TheouterframeoftheWaltonnarraiveisalsoretained,notjusttoprovideuswithdistancefromtheincrediblestory
Victorhastotell,buttorealiseShelley’sastonishinginsightsintothepsychologyofmenwhopushthemselves(and
others)tothelimitsinordertomakenewdiscoveries.Waltoncontainstheseedsofmoretragedy,andwewatchhim
respondingtoVictor’stale.AtthepointwhenWaltonandVictormeet,neitherman’sstoryiscomplete.Sothereis
tensioninobservingthefatesofthesetwodrivenmen.WilltheylearnfromVictor’sexperiences,andifso,what?For
us,thathasbecomethefocusingspineoftheacion.
Inmyviewthebookhasweaknesses,andasplaywrightitismytaskiseithertominimisethese,orusethemcreaively.
Surprisinglyperhaps,giventheradicalhouseholdinwhichShelleygrewup,thenovel’sfemalecharacterscanseem
woefullyconvenionalandlat,verymuchtheretofuncionasfoilsforthemorefullyrealisedmen.Itisparicularly
importantthatwecometovalueElizabethinherownright,sothatherfatereallyengagesus.Ihavegivenhermore
substanceandagencyasacharacter,whilerespecingthesocialnormsofperiodandplace.Therearealsoanumberof
improbabiliiesintheplot-forexample,howisVictorabletoaccessthemanybodypartsneededforthesecond
CreaturewhileworkingonacompletelyisolatedScoishisland?Inthiscase,thehowoftheprocessisfarless
importantthantheconsequencesofVictor’sacionswhenthebodyiscompleted,andwehavefocusedtheacion
accordingly.
Incompressingtheacionforatwo-hourperformance,ithasbeennecessarytoremovecharactersandwhole
episodes.Theguidingprinciplesherehavebeentoworknotjustwiththethree-dimensionalstorytellingoutlined
above,buttoengagewiththenovel’sunderlyinggenreandstorystructure.Atheart,Frankensteinisatragedy,thatof
anover-reacherwhocomestogrief-likeDoctorFaustusinChristopherMarlowe’splayofthatname.Italsodevelops
intoanexciingtaleofrevenge,withbothVictorandtheCreatureseekingtoavengepersonalwrongs.
ThisversionisalsoinspiredbyShelley’skeeninterestinsomeofthemostadvancedscieniicthinkingofherday,in
paricularGalvanism,andHumphryDavy’sworkonthecreaivepotenialofElectricity.Shewaslivingthroughaime
inwhichthepaceofscieniicdiscoverywasrapid,andScienceseemedabletoempowerMankindinalmost
superhumanways.Wealsodrawonherromanicinterestinthesublimeas mademanifestinwildandchallenging
landscapes:muchoftheaciontakesplaceinexciingAlpineandArcicseings.Thereisalsoastrongliterary
background,forexampletheexplicitparallelsmadewithJohnMilton’sParadiseLost-weretainthesebutinalimited
way,concernedthatthesemightconfuseratherthanenrichtheacionforaudiencesunfamiliarwithMilton’spoem.
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Peakesoughttoinspirewonderinhisaudiencebytherealisicstagingofdramaicnaturalevents.Todayilmandtelevisionarebeterequippedtoprovidespectacleofthatkind.Soweuselanguage,visualsandsound(including
puppetry)inmoresuggesiveways,aimingtoengagetheimaginaionoftheaudience-andhopefullycreainga
uniqueenergyandrapportateachperformance.
Therefore,theprimeaimistocreateacompellingtheatricalevent,butthisversionalsoseekstoprovokethought
anddiscussionaroundmanykeyissuesthathaverenewedsigniicanceforustoday:forexample,theethicsofgeneic
experimentaion,andthecausesofviolentbehaviourinsomemarginalisedsocialgroups.Whenitwasirstpublished,
Shelley’snovelatractedmanyhosilereviews,becauseitengagesdirectlywiththemesthatwereconsideredtaboo.
Isitsmaterialinanywaytabootoday?Whatisnotindoubtisthecomplexityofthedebateshewishesthereaderto
engageinaboutthethemesofthenovel.Workingonthishasletmefullofadmiraionfortheachievementofthe
nineteen-year-oldnovicewriter,whorespondedtothechallengeofinveningaghoststory‘tocurdletheblood,and
quickenthebeaingsoftheheart’bywriingabookthatissillwidelyread,andwhichhasinspiredinnumerable
adaptaionsforscreenandstage.
JohnGinman
April2016
IllustraionforCornhillPublishing
Company,1922ediionofFrankenstein
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Story
FrankensteinwastheirststoryMaryWollstonecratShelleyeverwrote.Theoriginalversionwaspublishedin1818,
andwasrapidlyreimaginedasastageplaythatwashugelypopular.Manyothertheatricaladaptaionsfollowed.The
irstediionofthebookwaspublishedanonymously.Someimeswomenneededtodothistocounternegaive
reacionsfromthemaledominatedpublishingindustry.Wriingasaprofessionwasveryuncommonforwomenatthis
ime.Asecondediion,publishedinParisin1823,didciteMaryastheauthor.
Afurtherediionin1831,sawMarymakesigniicantchanges,inpariculartoningdowntheinsinuaionofsomething
controversialintheloveafairbetweenVictorandhisadoptedsister.Shealsochangedtheframenarraive;the
originalwasstructuredinto3secions,butthenewerversionlowsthrough,chapteraterchapter.
TheoriginalversionhadanextractfromMilton’sepicpoemParadise Lost, atitsstart:
Did I request thee, Maker, from my clay
To mould me man? Did I solicit thee
From darkness to promote me?
ThisepigraphrelectstheimplicitquesioningofreligionandChrisianityinherdarkandcomplexethicalstory.This
wasremovedinlaterediions,perhapsduetofearsofupseingtheChurch.
Intheprefacetothe1831ediion,Marytalksofherwriingprocess,alludingtoitssimilariieswith
scieniic‘creaion’,andofVictorFrankenstein’sacions.Shewrites‘Invenion, it must be humbly admited, does not
consist in creaing out of void, but out of chaos’.Thisfollowingstatementshedssomelightonhowsheworkedasa
writer,drawingexisingideastogethertomakeastory.Herideasdonotcomeoutof
nowhere,andthisperhapsrelectsherlatersuccesssasaneditorofothers’wriing,herabilitytoreworkandimprove
exisingmaterial.Shealsowrites‘Invenion consists in the capacity of seizing on the capabiliies of a subject, and in the
power of moulding and fashioning ideas suggested to it’.
Epistolary novel
Frame Narrative
ThewordepistlecomesfromtheGreek,meaning
leter.Anepistolarynovelisastoryrepresented
throughacollecionofdiferentdocuments.They
cantaketheformofleters,diaryorlogbook
entries,newspaperaricles,medicalreportsand
otherdocuments.Thisstyleofwriingcan,like
documentaryilmmaking,provideamuchgreater
sense of realism, and when applied to a horror
story such as Frankenstein,addstoitspotency.It
also enables the reader to see inside the
characters’innerthoughts,withouttheneedfora
thirdpartynarraivevoice.
Thiswriingtechniquesetsoneormorestories
withinanother,usinganintroductorysceneand
charactersto‘frame’theleadstory.Ithelpsto
createcontextandatmosphereforthemainstory,
andprovidesotherpointsofview,addiionalvoices.
Itotenmakesforaricherandmore
complexstory,andgivesthereaderlayersof
meaningtoexplore.Frankenstein is a story within a
storywithinastory.WebeginwithCaptainWalton,
wriingtohisdaughter.Inhisleters,heretellsVictor
Frankenstein’sstory.WithinVictor’sstory,wehear
theretellingoftheCreature’sstory,andthenwe
returntoWaltonagainattheend.
Stretch
Canyouthinkofastoryorilmthathasaframenarraivewithinit?
Howdoesthisstructureafectthewaythestoryistold?
Canyouthinkofastoryorilmscriptwheremulipleperspecivesaretold?
WhydoyouthinkMaryShelleychangedaspectsofthestorybetweenediions?
Whatimpactmightthishavehad?
Comparethetwoediionsandconsidertheimpactofeachversionofthenarraive.
7
Frankenstein or The Modern Prometheus
plot synopsis
RobertWalton,anEnglishcaptain,whoseboatistrappedinicenorthofRussia,discoversamysteriousman,travelling
acrossthesnowytundraoftheNorthPoleonadog-pulledsledge.
Inleterstohissister,Waltonretellsthestoryofthisman,VictorFrankenstein.
VictorFrankensteinshareshislifestorywithWalton,hischildhoodinGeneva,hisloveforhisadoptedsisterElizabeth,
and his friendship with Henry Clerval.
InhischildhoodVictorwasagreatreaderandwasfascinatedwiththesupernaturalandoccultwriters,whilsthis
adoptedsisterandfriendareinterestedinpoetryandromanicwriing.
Hismotherdies,andhetravelstoUniversityinIngolstadtwhereheredirectshisatenionstotheteachingsofraional
science,chemistry,biologyandthestudyofelectricity.
Mergingthetwoareasofstudy,thatmostwouldperceivetobeinconlict,hediscoversthesecretoflife.Byrobbing
graves,hecollectsthebodypartsheneedstocreateananatomicallycompletehuman,anduseselectricitytogiveit
life.
TheCreaturecomesalive,butishorribletolookat,itsleshbarelycoveringitsmusclesandbones.Victorishorriied
andabandonshiscreaion.
TheCreaturedisappears,FrankensteinbecomesillandClerval,whohascometovisit,caresforhimbeforeVictorsets
outtoindthemonster.
VictorlearnsofthedeathofhisbrotherWilliam,whowasstrangled.Afamilyservantisaccusedofthemurderbut
Victor,seeingtheCreatureinthesamecity,believesotherwise.Theservant,Jusine,isconvictedandexecutedforthe
murder,Victorsaysnothingbutfeelsimmenseguilt.
AsFrankensteintravelsonMontBlanc,heindstheCreaturewhotellshimhisownstory,learninglanguageandhuman
behaviourfromsecretlywatchingafamily,readingandstudyingliteratureandpoetry.Hetalksofreacionsofterror
anddisgustfromthosethatheencounters.Heiscalled‘monster’andchasedawayandbeaten.
TheCreatureislonelyandangryanddemandsthatVictormakehimafemalecompanion.Victoragreesonthe
condiionthattheCreatureneverreturntoEurope.
Whilstmakingthecompanion,VictorbeginstopreparetomarryElizabeth,butisconsciousofthejealousythatthe
Creaturewillfeel,soendeavourstocompletethefemaleirst.
Torturedbyideasofthetwocreaturesbreedingandbecomingathreattosociety,hedestroyswhatisworkingon.
TheCreature,witnessingthis,threatensVictorandsoonater,HenryClerval’sbodyisfound.Victorisaccusedofthe
murderbutlaterclearedofthecharges.
DespitetheCreature’sthreat,VictordecidestomarryElizabeth,butsheismurderedontheirweddingnight.
FrankensteinsetsouttotrackandkilltheCreature,andendsupfollowinghimacrosstheNorthPole.
Atthispointweareuptothepresentime,andWalton’sleterstohissistertalkoftheotherproblemsoftheirboat
andtheirjourney.TheboatcrewplantoreturntoEngland,butFrankensteinrefusestoabandonhissearchforthe
Creature.
Frankenstein’shealthfailsandhedies.ShortlyaterwardstheCreatureisfoundinVictor’sroom,hegivesaspeech
overthebody,grievingthelossofhischanceforpeaceandcompanionship,andpromisestoburnhimselftodeathin
theNorthPole,leapsoutofthewindowanddisappearsintothenight.
Stretch
WhydoesVictornevernamehiscreaion?
Whatdoesthistellusabouttheirrelaionshipandtheidenityofthecreature?
8
Characters
Blackeyed’sproducionfocusesontheyoungercharacters
inthenovel.(SeethenotefromwriterJohnGinman)
VictorFrankenstein
Thescienistandscholarwho,discoveringthesecretoflife,createsa‘creature’capableoflearning,lovingandkilling.
Victor,disgustedbyandashamedofhiscreaion,abandonsit,andthenindstheCreaturewon’tleavehimalone.
The Creature
Madefrompartsofcorpsescollectedfromgraves,thisintelligentandsensiivecreaionisbroughttolifeandrejected
byVictor.Heseeksrevengeagainsthiscreator.
RobertWalton
AsailorwhoseboathitsiceintheArcic,wherehemeetsVictor,pursuingthecreature.Walton’sleterstohissister
beginandendthestory.
AlphonseFrankenstein
Victor’sfather,whoofersVictorcomfortandremindshimoftheimportanceoffamily.
ElizabethLavenza
AnorphanandVictor’sadoptedsister,whohelatermarries.SheistheclassicGothicnovelfemalecharacter,passive
andpaient,andulimatelythemonster’sinalvicim.Inthe1818versionVictorandElizabetharecousins.
HenryClerval
Victor’sclosefriend,whonurseshimbacktohealthandtowhomVictorconfesseshisterriblesecret.Henryis
murderedbytheCreature,butVictorisaccusedofthecrime.
WilliamFrankenstein
Victor’syoungestbrother.HeisstrangledbythemonsterasrevengeforVictorabandoninghim.Victorfeelsimmense
guiltforWilliam’sdeath.
JusineMoritz
Afamilymaid,adoptedintothehouseholdbyVictor’sparents.SheisincorrectlyblamedforWilliam’s
murderandexecuted,addingtoVictor’sguilt.
CarolineBeaufort
CarolineistakeninbyAlphonseFrankenstein,wholatermarriesher.ShediesofscarletfeverjustbeforeVictorleaves
forhisstudiesinIngolstadt.
Beaufort
ThefatherofCarolineandafriendofVictor’sfather.
DeLacey,Felix,AgathaandSaie
Afamilyofpeasantsnearwhosehomethecreaturehides.Watchingthem,themonsterlearnshowtospeakandinteract.Whentheyinallydiscoverhim,theyareterriiedandbeathim.
M.WaldmanandM.Kempe
Victor’steachersatUniversity,represeningmodernscience.Theyinstallapassionforchemistryand
physicsintheyoungVictor.
Mr.Kirwin
AmagistratewhofalselyaccusesVictorofHenryClerval’smurder.
9
Casting
BlackeyedTheatreproducionsaredesignedtotourextensivelytotheatresacrosstheUK,soemploysmallcasts
playingmulipleroles.Frankensteinisperformedbyanensembleofive(fourmen&onewoman)whodividetheroles
between themselves.
TheCreatureisamuli-person
puppet, moved by three
performersatthesameime.
Seethepageaboutpuppetry
toindoutmore.
Student activity
Look at each scene in the novel and the character list.
Withonly5actorsonstage,seeifyouworkouthow
you can cover all the characters. How many roles will
eachperformerneedtocover?
Isthereacharacterwhoisineverysceneandcanonly
beplayedbyoneperson?
Don’tforgetthattheCreatureneeds3peopleinorder
to move.
Multiple roles
‘Muli-roling’isatheatricaldevicewherebyactors
playmuliplepartswithinaproducion.
Thistechniqueisfrequentlyusedtominimisethe
numberofperformersneeded,andissomeimes
employedtocommentonarelaionshipbetweentwo
characters.
Somedirectorsusethetechniqueasachallengeto
theactors,andtokeepperformancesfresh.Inthe
recentNaionalTheatreproducionof
Frankenstein directorDannyBoyle’stwolead
actors(BenedictCumberbatchandJonnyLeeMiller)
swappedroleseachnight.TheyplayVictorandthe
Creature,andthisdirectorialdecisionrelectsthe
intenserelaionshipbetweenthetwocharacters,and
thesuggesionthatthemonsterisapartofVictor
andviceversa.Thiswillresultintheactorshavinga
deeperunderstandingofthecharactertheyareplayingalongside.
Occult
Theoccultmeansmysical,supernatural,ormagical
powersorpracices.
EarlyillustraionsofFrankenstein’smonster
ImagefromTheBriishLibrary
10
Adaptaionsintheatreandilm
SinceFrankensteinwasirstpublished,therehavebeenmorethan100
adaptaions,saires,reworkingsandproducionsfortvandilm,andmanymoreon
thestage.Frankenstein’siniialsuccessasabookwashelpedbyverypopular
theatricaladaptaions.Presumpion;or,theFateofFrankensteinbyRichardBrinsley
Peakepremieredin1823andranfor37performances.Itwasadaptedasa
melodrama,andwasnotconsidered‘tradiional’theatreattheime,alongwith
otherinnovaiveformssuchaspuppetry,burlesque,pantomimeandmusicals.This
wasotenwherethemostinteresingandcuingedgetheatrewastakingplace.
MaryShelleyandherfathersawittogetheranditsparkedWilliamGodwin’s
decisiontohelpMaryprintasecondediionofthebook.Intheadaptaion,the
creature,whoisnevergivenanameinMary’sstory,islistedintheprogrammeas
-------.Marylikedthisalot,asherletertoafriendshows:
“But lo and behold! I found myself famous! – Frankenstein had prodigious success
as a drama and was about to be repeated for the 23rd night at the English Opera
House. The play bill amused me extremely, for in the list dramaic personae came
–-- by Mr T Cook: this nameless mode of naming the unnameable is rather good. On
Friday, August 29th Jane my father William and I went to the theatre to see it…. The
story is not well managed – but Cooke played –-- ‘s part extremely well ...I was much
amused, and it appeared to excite breathless eagerness in the audience.”
ExtractfromMaryShelley’sleterstoLeighHunt,August4th1823.
AtthesameimeHenryM.Milner’sFrankenstein,ortheDemonofSwitzerland,had
openedattheCobourgTheatre.Bothadaptaionschangedthestory,focussedon
diferentelementsthanShelleyhad,andevenaddedwholenewcharacters,suchas
Frankenstein’sassistantFritz.
AveryrecentstageadaptaionbyNickDearpremieredattheNaionalTheatrein
2011,andwasdirectedbyDannyBoyle.Itdrewonallthedramaicpresenceand
Gothichorrorofthenovel.Youcanwatchadocumentaryaboutthemakingofthe
work,includinginterviewswiththedirector,writerandactors,here.
htps://www.youtube.com/watch?v=tkYgCZ0DWwc
InNickDear’sadaptaion,theCreaturetakescentrestage,weseethestorythrough
hiseyes,hissorrow,angeranddisappointment.
Top:Playbillforperformanceof
Presumpions;orTheFateof
FrankensteinatEnglishOpera
HouseJuly1823.
Botom:BorisKarlofas
Frankenstein’sMonsterin
the1931ilmadaptaion.
Theirstcinemaicversionappearedin1910.Itwasasilentilmandhadremoved
anythingthatthemakersconsideredmightshockanaudience.Sincethenthere
havebeenahugenumberofilmadaptaions,eachtakingadiferentslantonthe
story,humorous,frightening,focussingonthescience,thefaithaspectsorthepure
horror.
Stretch
Watchailmadaptaionandcompareittothenovel.OnceyouhaveseenBlackeyedTheatre’sproducions,comparethattotheilmaswell.Whatdiferencesdoyouseeandwhatdoyouthinkthereasonswereforthosediferentchoicesinadaptaion.Whymightdiferentadaptaionsatdiferentimesinhistoryfocusondiferentaspects
ofthestory?Whatdoesitsayaboutthenovelthattherearesomanyadaptaions?AndwhatdoyouthinkMary
mighthavethoughtofthem?FindthefullversionofMary’sletertoLeighHunt,whatelsedoesshesayabout
theadaptaion?Writeyourownreviewoftheilmadaptaionyouwatch,relecingonstaging,performanceand
adaptaion,asMarydoesinherreview.
11
The Gothic Novel
Gothicwriingcombinesbothromanceandhorrorandwashugelypopularthroughoutthelate1700sand1800s.In
theVictorianeraitshitedformandwritersbecameincreasinglymorecreaive.Withthesupernaturalandlovealways
attheirheart,talesfromEdgarAllanPoe,OscarWildeandElizabethGaskellalldrewonthepublic’sinterestinthe
unexplainedandtheromanceofeternallove.Usinglandscape,dramaicweather,tragiceventsandtempestuous
journeys,lovestoriesandsupernaturalthrillerswerebroughttolife.Youcansillseemanyofthesetechniquesin
modernwriingandilms.
Gothicnovelsotencentrearoundavastfrighteningbuildingorcastle,sweepingepic,remotelandscapesand
vulnerablewomen,overcomebypowerfulsexualpredators,menormonsters.
Sexual Power
Many Gothic novels draw on three key themes, the
supernatural,theuncannyandthesublime:
FantasiesinGothicnovelsareotenplayedout
through‘monsters’andwomensuccumbtopowerful
men and physical lusts. Frankensteinexploresapossiblyincestuousrelaionship,astrangelovebetween
theCreatureandhismaster,andtheCreature’sown
irrepressiblesexualdesire.Thereareinteresing
parallelsbetweenthisandthesexual‘freedom’that
Maryandherfemalefriendswerebeginningto
experienceattheime.Althoughwhatmighthavefelt
free,beingabletohaveafairsortoliveasasingle
womanforexample,would,inreality,leavewomen
desituteandsociallyoutcast,withoutacomparable
impact on the men involved.
The supernatural
SupernaturalelementsarevitaltoaGothicnovel;ghosts,
monsters,thedevil,andthebreakingoflawsofnature,to
confuseandfrightenthehumancharacters.
The uncanny
AFreudianterm,usedtoexplainthatstrange,
uncomfortablefeelingaboutsomethingnotquite
human.Itexplainswhyweotenfeelfrightenedbydolls,
masks or automatons.
The sublime
Expressesgreathumanemoion.Itotenmarriesthatin
literaturewithstunninglandscapesorweather.Finding
beauty in unusual scenes is common in Gothic novels.
Ratherthanportrayingbeautyinacalm
peacefulsunset,insteadcharactersindthemselvesinthe
heartofastorm,orthemidstofaterrifyingforestatnight,
situaionsthatareotenfrighteningor
overwhelming.
Front Cover for The Modern Prometheus
1818(Lackington,Hughes,Harding,Mavor&Jones)
12
Gothicwriingotenappearsatimesofpoliical,religiousorsocialchange
insociety,perhapsasawaytotryandexploretheupheaval,andtosafely
relectontheethicaldiscussionstakingplace.
Theirstimetheword‘Gothic’wasusedasadescripionfor
literaturewasinHoraceWalpole’sstoryThe Castle of Otranto. He created
anelaborate,fakebackstoryforhiswork,pretendingitwasanancient
relic,severalhundredyearsold.Gothicicionotendrawsonthepast,old
fashionedwaysoflivingincontrasttothemodernworldofthecharacters,
orghostsorspiritsfromalongimeago.BramStoker’sDraculaisagood
exampleofthis.
ThirtyyearslaterAnnRadclifeusedthetermandthetechniquesinher
novel The Mysteries of Udolpho,whichfeaturedamysteriousancientItalian
castleandasinistervillain.Infact,allofRadclife’snovelsaresetinforeign
countries,otenwithbroodinglandscapes,charactersandvastepicscenery.
ThroughhercharactersshecombinedtheGothic,withtheRomanic.
A second wave of Gothic novels in the second and third decades of the
19thcenturyestablishednewconvenions.Includingtheintroducionofa
‘double’,adoppelganger,orshadowofyourselfthatfollowsyourelentlessly,
ametaphorforconscience,ordeathorperhapsone’ssoul.
Character’sbeingpursuedbytheirdoublesoccursthroughoutGothicwriting.ThemostfamousexampleisDrJekyllandMrHydebyRobertLouis
Stevenson.
‘Man is not truly one, but truly two’
Robert Louise Stevenson, Dr Jekyll and Mr Hyde
Images
Top:FrontcoverofTheCastleofOtranto
and The Mysteries of Udolpho.
Right:ImagefromthestageadaptaionofGothic
novelStrangeCaseofDrJekyllandMrHydewhere
RichardMansieldplayeddualroles.(1895)
YouTube
WatchthisusefulyoutubevideofromtheBriishLibrarywhichexplains
Gothic themes and ideas
htps://www.youtube.com/watch?v=gNohDegnaOQ#t=244
Stretch
ReadBramStoker’sDracula andexplorethecontrastbetweentheoldfashionedlifeinDracula’scastle,withthe
busymodernworldinLondon.Whatcommentistheauthormakinginthiscontrast?
What parallels are there between Dracula and Frankenstein?
13
Science
MaryShelleywaswriingintheveryearly1800s,onthecuspofgreatdiscoveriesandadvancesinscience,medicine
andastronomy.Theseadvancesbegantoresolvepreviouslyunansweredquesionsandraisedmanymore.
The1700sand1800ssawrapidscieniicprogress,thatrevoluionisedEuropeanlife.Sciencewas
answeringmanyofthequesionsthatpeoplehadbelievedtoonlybeexplainablebydivinepowerandmiraclesand
thereforethenatureofreligionitselfbegantochange.
The1700sinEuropeisotendescribedastheAgeofEnlightenment,aimewhenraionalityandreasonhadaswellof
support,andtheoverwhelmingpoweroftheChurchbegantobequesioned.Thegreateracceptanceoftheobjecivityofscienceenabledscieniststoraiseconcernsaboutthepraciceofspiritualhealersandvillagedoctorswhoused
magicandprayertocureillness.
TheEnlightenmentalsosawpoliicians,philosophersandwritersbegintocallforgreatertolerance,
liberalismandthecriicalquesioningofinequality;thedissaisfacioninunequalpowersystemsfuelledworldchangingeventssuchastheFrenchRevoluion.Thisperiodofgreatchangeraisedmanydebatesandierceconlictinacademiccircles,alongwithagreatwealthofwriingandcreaiveoutput.
MaryShelleyrelectsthisconlictinherwriing.VictorFrankensteinisinspiredinhisearlyadultlifewiththewriingsof
occult,magicalphilosopherssuchasCorneliusAgrippa,whowaspublishingworkinthe1400–1500s,explainingand
exploringhisbeliefinimmortality,magicandtheparanormal.Agrippawasa
theologian,andsawtheparanormal,exorcisms,incantaionsandmagicaspartoffaith.
Electricity in Europe at the time
LuigiGalvani
1737–1798
He studied the impact of
electricity on the human body.
AllesandroVolta
1745-1827
Voltainventedamachinethat
createsstaicelectricity,andthe
irstchemicalbatery,providing
coninuouselectricaloutput.
Michael Faraday
1771–1867
Hediscoveredthatmagnetsand
copper wire created an electrical
current.
André-Marie Ampère
1775–1836
Ampère discovered
electromagneism.
HumphryDavy
1778-1829
AnEnglishscienistwho
inventedtheirstelectricallight
bulb.
LuigiGalvani discovered that
muscleissuereactedtoelectricity.
Heexperimentedondeadfrog’slegs,passing
electricalcurrentsthroughthemandwitnessing
themusclesreanimate,makingthelegstwitch.
ThisdiscoveryledtoAllesandroVoltainvening
theelectricbatery.
Asketchillustraingsomeoftheexperiments
carriedoutbyGalvanionfrogs.(1791)
14
Faith
MaryShelleyopenedheroriginaltextwithaquotefromMilton’sParadiseLost,anepicpoemaboutAdamandEve,
theoriginsofthedevilandthefallfromparadise,whentheyaretemptedtoeatthefruitintheGardenofEden.
DidIrequestthee,Maker,frommyclay
Tomouldmeman?DidIsolicitthee
Fromdarknesstopromoteme?
Therearemanyquesionsaboutfaithinthiscomplexnovel.Manypeopleseethecreatureasametaphorforhumankind,createdbyGodandabandonedontheearthtostruggleandsufer.Thisisachallenginganalogytomake
forChrisianity,becauseinthisanalogyVictorisGod,afailed,frightenedandunethicalman,lawed,imperfectand
ashamedofhiscreaion.Humansthen,portrayedbythecreature,areanaccident,anexperimentgonewrong.Inthis
analogy,humanshavebeenabandonedand,inanger,commitatrociiestoatemptsomekindofrevenge.
SomeseeVictor’splightasananalogyformanchallengingGod/religionitself,liketherevoluionarywritersandphilosophersoftheime.Bycreainglifehimself,heisrenderingGodunnecessaryandquesioningtheverysancityoflife.
Prometheus
Mary’sfullitleforthenovelwasFrankenstein, or The Modern Prometheus.
Prometheus is an ancient Greek myth. Prometheus modelled man out of clay, much as God does in the
Bible.PrometheuslovedhiscreaionmorethantheothergodswithwhomheresidedonMount
Olympus.WhenZeusdemandedthathumansgiveanimalsacriices,PrometheustrickedZeus,
waningtoprotectthehumans.Angryatbeingtricked,Zeuspunishedmanbytakingawaythegitof
ire.ButPrometheuslitatorchfromthesunandbroughtireback.Zeus,evenangrier,sentPandora,
theirstwoman,whosecuriosityunleashestheexistenceofevil,suferingandmiseryontheworld.
ZeusfurtherpunishesPrometheusbychaininghimtoarock,wherehewastormenteddailybyagiant
eagletearingathisliver.AsPrometheusisimmortalinthisstory,hisliverregenerateseachnight,only
tobeeatenagainthenextday.
TherearemanyparallelsbetweenthisstoryandthestoryofAdamandEveintheGardenofEden,but
inthisstorythegodsarevengeful,spitefulandcruel.Ittalksofpunishmentofhumans,andtheabuse
of power.
Stretch
WhatisMaryShelleysayingaboutreligionandChrisianitybylinkingittothestoryofPrometheus?
Whatcurrentpoliicaleventsareusingreligiousstatementstotalkaboutthesancityoflife?
Whatworldeventscanyouthinkofthatusereligionasanexcusetotakelife?Whatworldeventscanyouthinkof
thatusereligionasexcuseNOTtotakelife?
WhatdoestheMiltonquotemean?Howdoesitrelectaparent/childrelaionshipandwhatisthissayingabout
Godandhumankind?
15
Philosophy
Therearemanyethicaldebatesthatseereligionandscienceinconlict.Forexample,debatesaround
aborion,euthanisia,stemcellresearchorcloningotendrawinfaithbasedargumentsaboutthesancityand
preciousnessoflife.Ethicaldebateslikethisonetouchonthemessimilartotheethicaldebatesinherentin
Frankenstein.Oneoftheconlictsbetweenfaithandscienceliesinthereligiousbeliefinthingsthatbreakthelawsof
natureandscience.Ascieniicunderstandingofahumanbeingwouldsuggestthatlifeendsoncethebodyandbrain
aredead.Somefaithswouldsuggestthatanelementofthehumanidenitycancarryonbeyonddeath,thatthereis
anaterlife.Somefaithsrequireabeliefinmiracles;apersondefyingnaturallawbywalkingonwaterorturningone
materintoanother.Themorescienceadvancesandweunderstandhowtheworldworks,theharderitisforsome
peopletobelieveinmiracles.Othersseethemmerelyasametaphororstorytoexplainmoralmeaning,andthatthey
arenotinconlictwithscieniicunderstanding.
Student Activity
Ingroupsselectoneoftheenquirytopicsbelowandexploretheissues,imaginingmanydiferentviewpoints,even
iftheyarenotyourown,unilyoufeelyouareclosertoananswer.Trytoalwaysjusifyyourstatements,beopento
changingyourmindinthelightofabeterargument,idenifyanddeineconceptsandnoicethediferencebetween
fact and opinion.
HumanRights
Victorhascreatedlifebutisthislifesacred,likeotherhumanlife?Doesthecreaturehavethesamerightsasotherhumans?Areallhumansequal?Arerightsindependentofouracions,ordoweonlyhavethemifwebehavewell?Does
acriminalhavethesamerightsasothers?
The Soul
JohnLocke’sEssay Concerning Human Understandingarguedthathumanbeingsareablankslateatbirth,a‘tabula
rasa’.Idenityisformed,notthroughtheGod-givengitofasoulwhilstinthewomb,butthroughlearningandmimickingfamilyandsociety.Whatdoyouthinkaboutindividualidenity,areweacombinaionofwhatwehavelearntand
experienced,oristhereanaspectofusthatismorethanthesumofourparts,asouloraspirit?Couldthisexistater
thebodyisnolongerpresent?
Responsibility
Victorfeelsaresponsibilitytohiscreaion,despiteabandoningitiniially.Doesaparenthaveaninnateresponsibilitytotheirchild,andisthatgreateriftheyaregeneicallyrelated?Areweaproductofnature,ornurtureorboth,or
neither?Ifwearedictatedbyourgenes,areweincontrolofwhoweare?Ifweareaproductofsociety,areweto
blameforouracions?Isaparentresponsiblefortheacionsoftheirchild?Ifnot,whydoesthecurrentgovernment
ineparentsifchildrenfailtoatendschool?
TheIndividual
MaryShelley’sfather,WilliamGodwin,wasanimportantpartofthephilosophicalUilitarian
movement.Hebelievedthatemoionshouldnotplayapartinhowwedecidewhattodo,insteadweshouldrely
purelyonreason.Whatimplicaionswouldthishaveforconceptssuchascompassion,caring,family,empathy?How
wouldyoudecidewhotorescuefromaburningbuilding,asinglememberofyourownfamilyoragroupof300strangers,someofwhomwillbe‘good’peopleandsomewillbe‘bad’people?
16
Feminism
MaryShelley’smother,MaryWollstonecrat,wasoneoftheirstfemalewriterstopublishworkaboutgenderequality.
Her1792publicaion,isheraldedasthestaringpointofpublishedwriingaboutthesubject.Inthisworkshe
recognisedthateducaionwasthekeytoequalitybetweenthesexes.
Inthe1700schildrenfromworkingclassbackgroundswouldbeeducatedforafewyears.Middleclassboysweremost
commonlyeducatedingrammarschools,butgirlswouldbeeducatedathome.Thismeantthatmostgirlsdidnot
receiveanyformaleducaionbeyondayoungage.Wheretherewereschoolsforgirls,theyotenfocussedonsewing,
cookingandfashion.
Thiswasasystemsetupbymen,whoheldallposiionsofpower.MaryWollstonecratbelievedthatthesefew
powerfulmenwerewithholdingequalaccesstoequaleducaionforwomen,inorderthattheyremaininpowerover
women.Thiswasaconsciousanddeliberatesystemofdisadvantage.
MaryShelley’sfather,WilliamGodwinalsohadrevoluionaryideasforhisera,quesioningtheextremeclassdividesin
Englandandthepowerandprivilegeofthearistocracy.
In1897MillicentGarretFawcetfoundedtheNaionalUnionofWomen’sSufrageSocieies.Theiraimwastochange
genderinequalityinsociety,throughcampaigning,wriingandlobbyingpoliicalleaders(whowereallmen).Herwork
isconinuedtodaybytheFawcetSociety.
MaryShelleywasalsoapioneer,asanearlyfemalewriter.Societysillexpectedwomentoremaininthehome,be
educatedindomesicchores,maintainthehome,andengageinsocialaciviies.Rousseau,afamousphilosopher,
arguedinEmile,histreaiseoneducaion,thatwomenshouldonlybeeducatedforthepleasureandentertainment
ofmen.Womendidnothavecareerswithoutgreatstruggle,andsomewomenwriterspublishedworkundermale
pseudonyms,fakenames,inordertoavoidpublishersrejecingtheirworkbasedongender.
Overthefollowingtwohundredyears,womenandmenhaveconinuedtoightforequalrightsforall
humanbeings,regardlessoftheirgender.
However,eventodaywomenaresillunequalinsocietyinmanyways.Forexample,womenarehugelyunder
representedinposiionsofpower.InfacttherearemoremennamedJohninchargeofFTSE100companiesthanthere
are women in the whole list.
Deiniion:
FTSE100isanindexoftheinanciallylargest
100companiescurrentlylistedontheLondon
StockExchange.
Source:Guardian06/03/2015
17
MillicentFawcet(fourthfromlet,botomrow)
ataSufrageAllianceCongress,London1909
Today,intheUKwomenaresillpaidbetween10%and34.5%lessforthesameworkastheirmalecolleagues.
Paygap
• Thefullimegenderpaygapis10%,andtheaveragepart-imepaygapis34.5%.
• Itisesimatedthatforeachyearamotherisabsentfromtheworkplaceherfuturewageswillreduceby5%.
• Approximately70%ofpeopleinnaionalminimumwagejobsarewomen.
• 54%ofwomenworkingpart-imehavebeenfoundtobe‘employedbelowtheirpotenial’,whichamountsto2.8
millionwomen.(htp://ukfeminista.org.uk/)
Genderinequalityisfargreaterhowever,inotherpartsoftheworld.Fewergirlsthanboysareatendingschooland
girlsaresubjecttofargreaterviolence,oppression,arrangedmarriagesanddomesicslaverythanboysworldwide.
However,manycountriesthatyoumightexpecttobedoingbadlyingenderequalityforwomenareactuallydoing
beterthantheUK.TheUKdoeswellinequalityoneducaionandhealth,butbadlyonpoliicalandinancialequality,
whereasinRwanda,64%ofthemembersofparliamentarewomenpuingitinthetoptenglobally.TheUKcomes
56thinthatlist,justbelowKyrgysztan.
Sex & gender definitions
Sex-aperson’ssexisdeterminedbytheirgeneicsoranatomyatbirth.Peoplecanbemaleorfemaleorintersex.
Intersexisatermusedforsomeonewhoseanatomydoesnotitintothepre-determinedcategoriesofmaleorfemale,
apersonmaybebornwithbothreproducionorgans,orneither.
Gender-genderisatermusedtodescribeaperson’sownsenseofthemselvesasmaleorfemaleoronaspectrum
betweenthetwo.Aperson’sgendercanbeluid,andmayberepresentedinhowtheydress,behaveorchooseto
describethemselves.Apersonmaybeassignedasexatbirthbutfeeltheirgenderisdiferent.Genderisnotrelated
tosexuality.Gendersareexpresseddiferentlyindiferentcountriesandculturesanditchangesoverime.Someind
societalexpectaionsofhowacertain‘gender’shouldbehaveordresstobeoppressiveorexcluding.
Stretch
TryresearchingothergenderrelatedstaisicsfortheUK,whatsurprisesdoyouind?Canyouthinkofreasons
whytheremightbethesedispariies.
Whataboutsexandgenderaroundtheworld,howarewomendisadvantagedinothercountriesandconinents?
Whataboutmen?
Whatinspiringgenderacivistscanyouindoutabout,trytoindsomeonefromeachconinent.Whatacions
couldyoutaketopromotegenderequalityinyourschoolorcommunity?
18
Puppetry
BlackeyedTheatreisveryexcitedtobeworkingwithpuppetmakerYvonneStoneto
bringtheCreaturetolife.HerearesomeimagesofYvonne’sirstmodels.
Images:Scalemodelsofthepuppet,
alsoknownas‘maquetes’.
Multi person puppetry
Breath
Therearemanydiferenttypesofpuppetryfromacrossthe
worldandmanydiferentapproachestostyle,
techniqueandscale.TheCreaturewilluseatechnique
otenreferredtoas‘mulipersonpuppetry’.
One of the key principles of puppetry is the use of
breathandtechniquesthatcreatetheimpressionthat
thepuppetisbreathingthroughgentlemovementsof
thepuppet’storso,andtheperformers’own
breathingpaterns.Usingacarrierbag,seeifyouanda
partnercanmakeitappeartobebreathinggently.
Upto3performerswillworktogethertobringthe
Creaturetolifeonstage.Onepuppeteertakesthelead,
otenmanipulaingtheheadandchest,whilstthe
otherssharethelegsandarmsorletandrightsideofthe
body. They will hold these parts of the body directly with
theirhands,orsomeimeswithdiscreethandles.
The puppeteers must work as one person to create the
illusionthatthepuppetisaliving,breathingthingandthey
willspendalotofimeinrehearsalexploring
diferentmovementsandgesturesinorderto
manipulate their own element in complete
synchronicity with the other puppeteers.
Focus
When puppeteers focus their eyes solely on the part of
thepuppetthattheyareholding,the
audience’satenionisdrawndirectlytothe
puppet and away from the puppeteer.
Some puppet companies play with the focus of the
puppeteers and invite the audience to be conscious
ofthepuppeteerandthepuppetatthesameime.
Someimestheyallowthepuppettonoicetheirown
puppeteer!
Coninueexploringthecarrierbag,inviteanother
person to watch. Ask that person to tell you when your
bagisbelievableasalivingthing,andwhenitisn’t.
Whatdiferencedoesitmakeifthepuppeteerslookat
thebag,oriftheylookelsewhere.Canyourbagpuppet
acknowledgeyou,thepuppeteerandsillbebelievable
totheaudience?
19
Let:Experiments
Below:Fullscaledrawings
front and side
Let:Workingonthejoints
or skeleton of the Creature
Below:Research
Above:Materialscolourpallete
20
Costume
AnneThomsoncreatesmoodboardsandillustraionsofcostumesduringthedesignprocess.
21
Set
Herearetwoiniialdesignsketchesbysetdesigner,VictoriaSpearing.
Thetopimageshowsthestaringposiion;aship’smast(4minheightatmost)withaladderonesideleadinguptoa
hookthepuppetcanbehungontobeburntattheend,andropesontheothersideagainstwhichthepuppetcould
beheldagainsttolooklikeheisclimbing.Aroundthebaseisapileofcrates,furniture,planksetctocreatediferent
storytellinglocaions.Itcouldlooklikeabigtreeiflitfrombehind.Thereisshipdressing/fenceupstagerightasan
areaforcostumeorinstruments.Thesecondpictureshowsthepileofcrates/furniturebrokenapart-smalltrucks
whichsplitoflikethecracksintheicetobeusedfordiferentlocaions.
22
Watching the show
WehopethatyouarelookingforwardtoyourvisittoseeBlackeyedTheatre’sproducionofFrankenstein.
Inordertomaximiseyourstudentsunderstandingoftheshowwehavecreatedanumberofquesionsaboutthe
diferent‘lenses’throughwhichyourstudentscanwatchtheshow.Theselensesallowthestudentstofocusinonthe
performance elements, and analyse them in the moment.
Somestudentsmayindithelpfultomakenotesduringtheshow,othersmayprefertoconcentratefullyonthe
producionandmakenotesaterwards.Youcanalsochoosewhethertoallocategroupstolookspeciicallythrough
diferent‘lenses’duringtheshow,oraskallstudentstocoverallareas.
lenses
Performances
Howdotheactorssharetheroles?
Howdoestheaudienceidenifythecharacters?
Howwouldyoudescribetheacingstyle/s?
Isthereaparicularperformerthatstandsoutandwhy?
Idenifythevocaltechniquesusedthroughouttheshow.
Howdotheactorsphysicalisethecharacters?
Aresomecharactersmorestylisedthanothers,andwhy?
Observethechoreographywithinthepiece?
Howisthe‘ensemble’used?
Howhavethecastcreatedthe‘visual’imageswithinthepiece?
Story
Whathappensineachscene?
Isthestoryclear?
Breakthestorydownintodiferent
secions.
Whathappensduringthetransiions?
Whatthemesareapparent?
Idenifymomentsoftension,suspense,conlict,howdidtheseengageyouasanaudience
member?
Visual Design
Music and Song
Whereissongusedwithintheshow?
Whatefectdoesthishaveonyour
understandingofthestory?
How would you describe the style of
music?
Whichactorsplaywhichinstruments?
Set
Sketch the main scenic elements
Howarethediferentplacescreated?
Whydoesthesetlookthewayitdoes?
Whatarethevisualqualiiesoftheset?
Whatmovesandwhatisstaic?
Howaretheprojecionsbeingused?
Lighing
Howdoesthelighingcreateatmosphere?
Howislighingusedtohelptellthestory?
Canyouidenifylighingtechniquesusedintheshow?
Costume
Howhavecostumesbeenusedtohelpindicatediferentcharacters?
Whereandwhendothecharacterschangecostumes?
23
Post production
NOTES
Assoonaspossibleateryouhaveseentheproducion(thesameeveningorthenextday
isideal)encourageyourstudentstositdownandmakesomedetailednotesaboutthe
show.
Sketchthescenicelementsandthelayoutfordiferentscenesandmomentsofacionthat
stoodout.Considertechniquesthatyoureallyenjoyed.
Idenifymomentsthatchallengedyou,thatyoudidn’tunderstandormadeyouthink.
Runthroughtheproducionelements‘lenses’andwriteasmanyfacts
abouttheseareasasyoucan,considerfactsaswellassubjeciveopinions.
Imagineyouarewriingareviewforalocalpaper,whatmightapotenialaudiencemember
wanttoknowbeforegoingtobuyaicket?
EVALUATION
ACTIVITIES
Snowball
1.Pairupyourstudentsandaskthemtodiscusstheirfavouritemomentsfromtheproducion
2. Then ask them to pick one of those moments
3.Askthemtocomeupwithaquesionthattheywouldlike
toaskthedirectoraboutthatspeciicmoment?
4.Mergepairswithanotherpairtoformgroupsoffour
5.Askeachpairtosharetheirquesions,anddecideonone
ofthosequesionstotakeforward
6.Mergegroupsoffourtogethertoformgroupsof8and
repeatthenegoiaionexercise
7.Coninuetomergegroupsunilonelargegroupisformed
andthewholegrouphasdecidedononequesionthatthey
wouldliketoaskthedirectorabouttheproducion
8.Setahomeworkacivitywhereeachstudenthastowritea
detailedanswertothequesion
Epistolary Evaluation
Giveeachstudent,orgroupofstudents,oneof
thefollowingformats,andsetthemthetaskof
wriingashortcriicalreviewofthe
producioninanappropriatestyletothatoftheir
format.
-diaryextract
-televisionnewsaricle
-tabloidnewsaricle
-letertothecompany
-health&safetyreport
-loveleter
- speech
- youtube video
-Twiterstatusupdate
Collatetheirevaluaionsintoonecompletedocument.
Blog
WriteareviewofBlackeyedTheatre’sproducionofFrankenstein.
Upoloadtheiletoyourschool’swebsite,createyourown
blogsiteandsendyourreviewstotheDirector.
24
Crew Biographies
JohnGinman-Writer
JohnhasbeenworkingprofessionallyinUKtheatreasadirectorandwriterfortwenty-iveyears,includingperiodsas
AssociateDirectorattheBelgradeTheatre,CoventryandtheNuieldTheatre,Southampton,asDirectorofTheatreat
SouthHillParkArtsCentre,andasArisicDirectorattheSwanTheatre,WorcesterandatContactTheatre,Manchester.Duringthe1990shewroteanddirectedextensivelyfortheMidlandsArtsCentreinBirmingham.Hespecialisesin
thedirecionofShakespeare,themainstreamEuropeanrepertoire(includingBrecht,Molière,andWedekind),largescalecommunityprojects,andworkforchildrenandyoungpeople,inaddiiontodevelopingplaysbynewwriters.In
collaboraionwiththecomposerColinRiley,hehasalsodirectedandwritenthelibreiforthreeoperas,including
Noir(PurcellRoom,1995),Gulliver(Malvern,1995)andScienceFicions(CDreleaseandtheDrillHall,London,1998).
HeisConvenoroftheMAWriingforPerformanceprogrammeatGoldsmithsCollege,London.Johnadapted
BlackeyedTheatre’shugelysuccessful2013producionofDracula.
EliotGiuralarocca-Director
EliotstudiedEnglishLanguageandLiteratureatChristChurch,OxfordbeforetrainingattheGuildfordSchoolofAct-
ing.HeisdelightedtoberenewinghisassociaionwithBlackeyedTheatreaterplayingtheitleroleinthecompany’s
producionofTheBeekeeperatWaterlooEast(forwhichhereceivedaBestActornominaioninthe2012OfWest
EndAwards).HehaspreviouslydirectedDracula,NotAboutHeroesandTheGreatGatsbyforBlackeyedTheatre.
HehasrecentlydirectedBaroqueAroundtheBlockforArmonicoConsortwhichissettotourNaionallyin2013and
priortothisdirectedtheirNaionaltourofMonteverdi’sFlyingCircuswhichwillbetouringtoAmericain2013.Other
direcinganddevisingcreditsincludeThreeServantsandVoyagersforJetTheatre/CroydonWarehouse,SexandSuicide,SorryIsland,andPostcardsfromTransylvania(DurhamTheatreCompany),andTheLoveLetersofPrivateBlade
(RiversideStudios).
Overthelast20yearshehasworkedextensivelyinTheatre,FilmandTV.RecentworkasanActorincludes:TheResistibleRiseofArturoUi(LiverpoolPlayhouse/NoinghamPlayhouse),IlTurcoInItalia(RoyalOperaHouse);Measurefor
Measure(ThelmaHoltProducions);ASmallFamilyBusiness(WafordPalaceTheatre);Don’tLookNow(LyricHammersmith);TheComedyofErrors,TitusAndronicus(Shakespeare’sGlobe);TwelthNight(RoyalExchangeManchester);RosencrantzandGuildensternareDead,HorseandCarriage(WestYorkshirePlayhouse);TheBlackDahlia,Buried
Alive,TheCherryOrchard,DemonsandDybbuks(MethodandMadness);AMidsummerNight’sDream,TheTempest
(NuieldTheatreSouthampton);TheGovernmentInspector(SalisburyPlayhouse);ManforHire(StephenJoseph
TheatreScarborough);TheLiontheWitchandtheWardrobe(LibraryTheatreManchester);Oxygen(TricycleTheatre).
Televisionworkincludes:MindGames(ITV)andEgypt(S4C)whileFilmworkincludes:Nine(Lucamar/Weinstein
Company);NightSwimming(Tri-Star);DIYHard(BriishFilmFoundaion)Cake(SubrosaFilms)Forfurtherinformaion:
www.sainou.com
RonMcAllister-Composer
RonwasborninGlasgow,studiedmusicatGlasgowUniversityandthenwentontocompleteapostgradinTheatreStudiesatUniversityCollege,Cardif.HecomposedmusicformanyshowsinGlasgowwhichwereperformedat
GlasgowArtsCentre(Agamemnon,Woyzeck,TheHardMan)beforemovingSouthtotakeuptheposiionofHeadof
Music for South Hill Park Arts Centre. At South Hill Park, Ron wrote music for many shows and musically directed many
others(Chicago,GirlsofSlenderMeans,TrafordTanzi).HealsoreceivedcommissionsfromtheScoishArtsCouncil
towritemusicforScoishYouthTheatre’sproducionsfrom1984-1988(includingJonathanHarvey’sTheColonist,
JohnMcGrath’sTheGamesABogeyandDeniseCofey’sLizzie’sStrategy).Hewroteandconductedalargesite-speciic
piece-PuingTheSunInItsPlace,performedbytheScoishChamberOrchestrawithScoishYouthTheatreatthe
GlasgowGardenFesivalin1988.
In1990RonlaunchedanartscentreintheBorders(TheMalingsinBerwickUponTweed),workingasArisicDirector
therefortwoandahalfyears,andhismusicaladaptaionofJamesandTheGiantPeachtourednaionallyfromthere
in1991.Laterin1991RonmovedtoHuddersieldtobecomefounderdirectoroftheLawrenceBatleyTheatre,which
helaunchedin1994.In1995heproducedhisirstoperathere,asaco-producionwithOperaNorth-ThePictureof
DorianGray.Ronhasconinuedtocomposefortheatresincethen,mostrecentlyfromhisbaseatSouthHillParkArts
Centre,wherehewasappointedChiefExecuivein2001.PreviouscomposingworkincludeDracula,TheResisiible
RiseofArturoUiandOedipus(naionaltourswithBlackeyedTheatre),Shakespeare’sR&J(OriginalTheatre)andthe
last ten pantomimes in the Wilde Theatre.
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Crew Biographies coninued...
EllieVerkerk-MusicalDirector
ElliestudiedattheRoyalCollegeofMusic.MusicalTheatrecreditsincludeKeys/BVdepforJerseyBoys(PrinceEdward
Theatre,London).MusicalDirectorcreditsincludeCabaretAtTheCellarBar(GoldenRaio,SouthHillPark,Berkshire),
PlugInTheLeadandMashUpCabaret(PauldenProducions,LeicesterSquareTheatre,WestEnd),Cabaretevenings
attheLandorTheatre(variousWestEndarists,Clapham,London),BeautyandTheBeastandOh,WhatALovelyWar,
TheGreatGatsby,Dracula(BlackeyedTheatre,NaionalUKtours),WestEndUnplugged(IntervalProducions,Leicester
SquareTheatre)andJourneyToThePast(HelenaBlackmanfromBBCTV’sHowDoYouSolveAProblemLikeMaria,
UKTour).Recordings/albumsincludeMyParade(StephanieFearonfromBBCTV’sOverTheRainbow),TheSoundOf
Musicals(variousWestEndarists),andSichedShoesandAnIrishWristwatch(Buswell).VideocreditsincludeLetIt
Go(Sheridan),andStraightenUpAndFlyRight(AaronDelahunty).SheworksattheReadDanceandTheatreCollegein
Reading,Berkshire,andisanassociateMDfortheGuildfordSchoolofAcing.Whenshe’snotplay-ingmusicaltheatre,
you’llindherplayinginbandsandfesivalsonhertrumpet!Website-www.ellieverkerk.com
AnneThomson-CostumeDesigner
AnnegraduatedfromRoseBrufordCollegeofTheatreandPerformancewithaBA(hons)inCostumeProducionin
2013andhassinceworkedasacostumemaker,assistantanddesignerintheatre,TVandilm.
Upongraduaing,sheworkedontheWestEndmusical‘Wicked’,aterwhichshewentontoworkwithEnglishNaional
Ballet,RoyalOperaHouse,NaionalTheatreandAnglestheCostumiers.Anne’silmandTVworkincludesdesignfor
severalindependentprojectsaswellasatraineeshiponthe‘Spooks;theGreaterGood’(2015),contribuingtothe
costumeworkroomonseason5of‘GameofThrones’andmostrecently‘Taboo’fortheBBC/FX.
AnnehasalsodesignedcostumesforproducionsatSouthHillParkArtsCentresincesummer2015,includingAlicein
Wonderland, The Borrowers, Sweeney Todd and Oliver.
VictoriaSpearing-Designer
SincegraduaingfromBretonHallin2001,Victoriahasworkedasafreelancetheatredesignerandmaker.Theatre
workincludesTheQueenandI,BugsyMalone,BFG,WhistleDowntheWind,WhenWeWereMarried,Charlieandthe
ChocolateFactory,Norfolk’sRose,TheCaretaker,AroundtheWorldin80days,AliceinWonderland,TheWizardofOz,
BlueRememberedHills,SummerHoliday,HouseandGarden,TheAdventuresofMrToad,HenryV,Oliver!FantasicMr
Fox,BrassedOf,NoughtsandCrosses,TheLiontheWitchandtheWardrobeandBillyElliot(allforSouthHillParkArts
Centre),MorttheMusicalandLoservilletheMusicalforYouthMusicTheatreUK.TouringworkincludesTheBeekeeper(forwhichshewasOFFIEnominated),TheGreatGatsby,Teechers,Dracula,NotAboutHeroes,MotherCourage,The
Trial,TheCaretaker,Art,Misery,TheResisibleRiseofArturoUi,Oedipus,OhWhataLovelyWarTheCherryOrchard,
Alie,andTheCaucasianChalkCircle(allforBlackeyedTheatre),SeeHowTheyRun,TwelthNight,DancingatLughnasa,Shake-speare’sR&J,TheImportanceofBeingOscar,MallardandJourney’sEndforOriginalTheatre,TheMadnessofGeorgeIIIforWildeEnterprisesandTheGo!Go!Go!ShowforShows4kids.ShehasalsodesignedSouthHill
Park’shugelysuccessfulpantomimes,DickWhiington,SleepingBeauty,JackandtheBeanstalk,Cinderella,Aladdin,
BeautyandtheBeastandPeterPan.Inaddiionshehasdesignedandmadepropsforuseineducaionalproducions
inmostofthemajorLondonmuseums.
CharloteMcClelland-LighingDesigner
CharlotetrainedonanArtsCouncilbursaryatCentralSchoolofSpeechandDrama.Recentlighingdesignsinclude
AngelsOnHighforGuildfordInternaionalMusicFesival(vericaldanceonGuildfordCathedral),CarmenandtheMarriageofFigaroforLongboroughFesivalOpera,Art,TheResisibleRiseofArturoUi,Oedipus,OhWhatALovelyWar,
TheTrial,Dracula,NotAboutHeroes,TeechersandTheGreatGatsbyforBlackeyedTheatre,PlasicineandButerly
KissforBirminghamSchoolofSpeechandDrama,EvertheBullforDemonstrate,CinderellaforSouthHillParkArts
CentreandTheBaghdadMonologueandChicosdel21forFrancesMLynch/ElectricVoiceTheatre.
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YvonneStone-PuppetsandPuppetry
YvonnestudiedPuppetryattheCentralSchoolofSpeechandDramainLondonhavingpreviouslyatendedtheByam
ShawSchoolofArt.Sheisnowanindependentpuppetdesigner,director,makerandperformerfortheatre,television
andilm.
Yvonne’sTheatrecreditsincludeTerryPratchet’s‘Naion’,‘Warhorse’and‘HisDarkMaterials’allfortheNaional
Theatre;‘RoomontheBroom’,‘TheGrufalo’,‘TheSnowDragon’and‘EmilyBrown’forTallStoriesTheatreCompany;
‘Rubbish’and‘Mojo’forTheatreRites;‘TheLionKing’;‘IntheNightGarden–Liveshow’;and‘Macbeth’theOperafor
MalmoOpera,Sweden.ShealsodesignedandbuiltallthepuppetelementsfortheNaionalTheatre’sJubileeTribute.
HercreditsfortelevisionincludetheCBeebiesproducion‘SpacePirates’,forwhichYvonnecreatedallthepuppet
elements.YvonneplayedthepartofDibDabintheBAFTAnominated‘DoodleDo’.Shehasalsoworkedon‘MrBloom’s
Nursery’forCBeebies,‘Mongrels’forBBC3andMatLucas’‘Pompidou’.
YvonnehasalsoheldpuppetryworkshopsatvariouslocaionsincludingtheNaionalTheatre,YoungVicTheatre,and
theCentralSchoolofSpeechandDrama.
DanielleCorbishley–EducaionAdvisor
Danielleisaperformer,director,lecturerandmagicianwhodevelopsanddirectsperformanceswithBeauifulCreaturesTheatrealongsidehereducaionandfreelancetheatrework.BeauifulCreaturesproducephysicalandvisual
theatresforaudiencesofallagesandhaveenjoyedtouringtheirworkthroughouttheUKandproducinglargescale
pariciaptoryperformancesinBerkshire.BeauifulCreaturescurateaprogrammeofoutdoorartsatCaversham
Fesivalandprovideopportuniiesforyoungpeopletogainvocaionalexperience.Danielleiscurrentlytouringwith
Periplum’s451asCompanyStageManagerandPerformer.PreviouseducaionpacksforBlackeyedinclude:Mother
Courage,Dracula,NotAboutHeroes,TeechersandTheGreatGatsby.
LizAllum-EducaionPackWriter
Lizisawriterandperformer.Shealsoworksforaneducaioncharity,supporingteachersinaddressingissuesof
diversityandinclusion.ShewritesforAltReadingandtheBriishTheatreGuide,andisWriterinResidenceattheCorn
ExchangeinNewbury.
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