Contents

About this resource 2Blackeyed Theatre 3Mary Shelley 4Note from the writer 5-6 Story 7Plot synopsis 8Characters 9Casting 10Adaptationintheatreandfilm 11TheGothicNovel 12-13Science 14Faith 15Philosophy 16Feminism 17-18Puppetry 19-20Costume 21Set 22Watchingtheshow 23Postproduction 24 Crewbiographies 25-26

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Blackeyed Theatre LtdSouthHillPark,Ringmead,Bracknell,BerkshireRG127PA

www.blackeyedtheatre.co.uk

About this resourceThisresourceisdesignedtofullysupportourtouringproductionofMaryShelley’sFrankenstein, and provide you with additionalcreativeandcross-curricularactivitiestoenhanceyourvisittotheproduction.ItisdesignedforKeyStages3and4,butactivitiescanbeadaptedforotherages.

Theresourcecomprises3sections:

1 Pre-production Thisisthelargestsectionandcontainsnotesandactivitiestohelpyourgroupgettogripswiththeplaybefore theirvisit;tothinkaboutthestoryandthemesandtoconsidercontemporarydramaticinterpretations.This contentcovers5keyareas:

o Story o HistoricalContext o Characters o Themes o Productionnotes

Withinthesekeyareasyou’llfindusefulinformation,studentactivitiesandpracticaltasksthatyoucansetforyourgrouptodeveloptheirknowledge,skillsandattitudesabouteachtopicalongtheway.

2 Watchingtheshow Thissectioncontainsquestionsandactivitiesthatstudentscanengagewithduringtheirvisittoseethe production,tohelpmaximisetheirunderstandingandenjoyment.

3 Postproduction Thissectioncontainsguidanceforanevaluationsessionfollowingtheproduction,basedonyourstudents’ criticalappreciation.

Stretch

Theseboxescontainhigherlevelthinkingquestionstostretchandchallengeyourstudents.Thesecanbeturnedintostudentactivities,orusedforfurtherresearchandhomework.Theyencouragestudentstomakeconnectionsbetweenthehistoricalcontextofthetextandcontemporaryeventsandglobalissues.

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ThisresourcewaswrittenbyLizAllumanddesignedbyDanielleCorbishleywithcontributionsfromthecreativeteam.

Formoreinformationaboutthetour,oureducationpack,orBlackeyedTheatreingeneralplease email us at info@blackeyedtheatre.co.uk

BlackeyedTheatreisoneoftheUK’sleadingmid-scaletouringtheatrecompanies.Since2004wehavebeencreatingexcitingopportunitiesforartistsandaudiencesbyproducingtheatrethat’saudacious,accessibleandmemorable.BlackeyedTheatrehastwoprincipalobjectivesthroughtheworkitproduces;toprovideaudiencesandartistswithfresh,challengingwork;andtomakethatworksustainablebyreachingaswideanddiverseanaudienceaspossible.Overthepastfewyears,BlackeyedTheatrehasbalancedtheseartisticandbusinessobjectivesbycreatingnew,excitingversionsofestablishedclassicsinuniquewaysandbyidentifyingarelevancewithtoday’saudiences.

Recentexamplesofthisincludethecompany’s2012productionofBrecht’sMotherCourageAndherChildren,whichtouredacrosstheUKfortenweeksandincludedanewlycommissionedmusicalscore.TheproductionsetBrecht’sstoryinapost-apocalypticworld,designedtoestablishrelevancewith21stcenturyworldevents.

In2013,thecompanycommissionedabrandnewstageadaptationofBramStoker’sDracula,whichincludedanewmusicalscoreandpresentedthestoryusingfiveactormusicians.Presentedinahighlytheatricalway,usingpopularformsofentertainmentandtechnologyemergingatthetimethenovelwaswrittenasstorytellingdevices,theproductionwasseenbyover10,000people.

In2014,Blackeyed’sproductionofNotAboutHeroesbyStephenMacDonaldtouredto45UKtheatres.Combiningnewlycommissionedmusicandprojection,thiswasahighlytheatrical,multi-sensoryproductionofanestablishedclassic.

OthertouringproductionsincludeTheGreatGatsby(adaptedbyStephenSharkey),TheTrial(StevenBerkoff),OhWhatALovelyWar(TheatreWorkshop),TheMadnessofGeorgeIII(AlanBennett),Alfie(BillNaughton),TheCherryOrchard(AntonChekhov),TheCaucasianChalkCircle(BertoltBrecht),theworldpremiereofOedipus(StevenBerkoff)andTheResistibleRiseofArturoUi(BertoltBrecht).

In2009BlackeyedTheatrebecameanassociatecompanyofSouthHillParkArtsCentre.In2011BlackeyedTheatrelauncheditsfirstnewwritingscheme,Pulse,withtheintentiontoprovideanewwriterwiththeopportunitytoseetheirworkproducedprofessionallyonstage.Thewinningplay,TheBeekeeper,wasperformedinitiallyatSouthHillParkinBracknellbeforetransferringtoWaterlooEastTheatreinLondonforathreeweekrun,whereitreceivedthreeOffWestEndTheatreAwardnominations.

Westrivetomakeourworksustainablebyproducingtheatrethataudienceswanttoseeinwaysthatchallengetheirexpectations,bybringingtogetherartistswithagenuinepassionfortheworktheyproduce,andthroughanapprecia-tionthattitlesofworkwithawideappealcanstillbeperformedinwaysthatpushartisticboundaries.Inshort,it’saboutfollowingaudiencesbutalsoleadingthem,beingaffordableandresponsivetodemandwhileinnovatingandchallengingexpectations.

Blackeyed Theatre

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Mary Wollstonecraft Shelley

WhilstPercy,MaryandherstepsisterClairewerespendingthesummerwiththepoetLordByroninGeneva, Frankensteinwaswritten.Theweatherwasbadandsothegroupspentmuchoftheirtimereadingandwritingtogether.TheyparticularlyenjoyedworkingtheirwaythroughFantasmagoriana,acollectionofGermanghoststories.

The story Mary composed, which later became Frankenstein,drewonrecentscientificprogressofthetimeandthewritingsofLuigiGalvani.Galvaniwasaphysicistwhohaddiscoveredthatmusclesinhumanandanimaltissueconductand react to electricity. Frankenstein or The Modern Prometheus waspublishedtwoyearslater,in1818.

PercyShelleydrownedinastormwhilstsailingnearItalyin1822.Marywasonly24andneverremarried.

Mary wrote many other books, as well as Frankenstein.Her1823novelValperga, was afictionalisedaccountofthe14thCenturydespotCastracani,whoforcesthewomanhelovestochoosebetweenloveandpoliticalfreedom. She chooses freedom. The Last Manwasanearlysciencefictionnovel,setinapost-apocalyticworld.Itreflectstheseveraldeathsshegrievedofliteraryfriends,andattacksthefailuresoftherevolutionarypoliticalideasofthetimetobringaboutrealchange.Shealsowrotemanytravelnovels,wasanaccomplishededitor,andwasinstrumentalineditingandpublishingmanyofthepublishedcollectionsofherhusband’swriting.

Marydiedin1851attheageof53,mostlikelyfromabraintumour,thathadgivenheryearsofheadachesandoccasional muscle paralysis.

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Marywasbornin1797.Herparents,WilliamGodwinandMaryWollstonecraftwerebothwriters.Herfatherwasfamousforhisrevolutionaryideasaboutpoliticsandsociety,andhermotherwasapioneerinfeministwriting.Thenewandradicalideasofherfather,motherandherfuturehusbandPercyShelley,alongwiththeeducationshereceivedandcontinuedthroughoutherlife would shape how she approached the world and her writ-ing.

Hermotherdiedjust10daysafterMarywasborn.Lifewasdifficultforherfatherwhowasoftenindebt,andMarydidnotgetonwellwithherstepmother,butformedaclosefriendshipwith her step-sister Claire Clairmont.

WhenMarywas17,sheranawaywithPercyShelley,afamous poet she had met two years before. He was married to a woman named Harriet, and Percy and Harriet had been friendsofMary’sfather.

MarygavebirthtoherandPercy’sfirstchild,butsadlythebabydiedtwoweekslater.Percy’swifeHarrietdrownedherselfin1816.PercyquicklymarriedMaryandtheyhadthreemorechildrentogether,butonlyonesurvived.Marysufferedalotoflossduringherlife,herhalfsisterFanny,threeofherchildren,her parents, her husband and friends.

MaryShelley’sportraitbyRichardRothwell,shownattheRoyalAcademyin1840

Note from the writer

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AdaptingFrankensteinforBlackeyedTheatre

Anystageadaptationofanovelshouldaimtocreateanessentiallytheatricalexperience.Inthiscase,morethan200pagesofprosefictionaretranslatedintotwohoursofliveperformance.Thereisnosuchthingasadefinitivestageversion,asanytreatmenthastotakeaccountofmanyelementsthatareparticulartoitsstaging:theresourcesavailable,thecircumstancesofperformance,andthevaluesandexpectationsofcompanyandaudiences.I’veworkedwithBlackeyedTheatrebefore(onDraculain2013)andI’mfamiliarwiththeirapproach:asmallcastofmulti-skilledperformersuseelementsofspokentext,music,soundandvisualstocreatepowerfulperformanceeventsthatcanbetouredtoawiderangeofvenues.SoI’vehadthecompanyverymuchinmindwhileworkingonthescript.

Sinceitsfirstpublicationin1818,Frankensteinhasinspiredmanystageadaptations.Asearlyas1823RichardBrinsleyPeakewroteaversioncalledcalledPresumption;or,TheFateofFrankenstein.Ittookgreatlibertieswiththenarrative,andmadetheactionandthecharacter-typesconformtothemelodramaticconventionsoftheday:Victorhadacomicassistant,calledFritz,ElizabethbecameVictor’ssisterandwaswooedbyHenryClerval.MaryShelley’sframingnarrativewithJamesWaltonwascutcompletely.TheCreature(namedtheMonsterinPeake’sversion)wasnotgivenanydialoguetospeak.Someofthestagingmusthavebeenspectacular:includingafinalsceneinwhichVictorandtheMonsterareannihilatedinanonstageavalanche,accompaniedbyloudthunderandaheavyfallofsnow.Thepopularityoftheshowinspiredthepublicationofasecondeditionofthenovel.ButthisversionforBlackeyedTheatreusesaverydifferentapproach.

Werespectthenovel’smulti-layeredwayoftellingthestory.FrankensteiniscarefullyconstructedlikeasetofRussiandolls:ithasastorywithinastorywithinastory.AtthecoreofthebookistheCreature’saccountoftheexperiencesthathaveformedhim,andweincludeit,toldintheCreature’sownwords.OnestrengthofthenovelisthewayMaryShelleyusesherstorytoexplorecomplexethicalissues.TheCreature’svoiceiscrucialtothis.

TheouterframeoftheWaltonnarrativeisalsoretained,notjusttoprovideuswithdistancefromtheincrediblestoryVictorhastotell,buttorealiseShelley’sastonishinginsightsintothepsychologyofmenwhopushthemselves(andothers)tothelimitsinordertomakenewdiscoveries.Waltoncontainstheseedsofmoretragedy,andwewatchhimrespondingtoVictor’stale.AtthepointwhenWaltonandVictormeet,neitherman’sstoryiscomplete.Sothereistensioninobservingthefatesofthesetwodrivenmen.WilltheylearnfromVictor’sexperiences,andifso,what?Forus,thathasbecomethefocusingspineoftheaction.

Inmyviewthebookhasweaknesses,andasplaywrightitismytaskiseithertominimisethese,orusethemcreatively.Surprisinglyperhaps,giventheradicalhouseholdinwhichShelleygrewup,thenovel’sfemalecharacterscanseemwoefullyconventionalandflat,verymuchtheretofunctionasfoilsforthemorefullyrealisedmen.ItisparticularlyimportantthatwecometovalueElizabethinherownright,sothatherfatereallyengagesus.Ihavegivenhermoresubstanceandagencyasacharacter,whilerespectingthesocialnormsofperiodandplace.Therearealsoanumberofimprobabilitiesintheplot-forexample,howisVictorabletoaccessthemanybodypartsneededforthesecondCreaturewhileworkingonacompletelyisolatedScottishisland?Inthiscase,thehowoftheprocessisfarlessimportantthantheconsequencesofVictor’sactionswhenthebodyiscompleted,andwehavefocusedtheactionaccordingly.

Incompressingtheactionforatwo-hourperformance,ithasbeennecessarytoremovecharactersandwholeepisodes.Theguidingprinciplesherehavebeentoworknotjustwiththethree-dimensionalstorytellingoutlinedabove,buttoengagewiththenovel’sunderlyinggenreandstorystructure.Atheart,Frankensteinisatragedy,thatofanover-reacherwhocomestogrief-likeDoctorFaustusinChristopherMarlowe’splayofthatname.Italsodevelopsintoanexcitingtaleofrevenge,withbothVictorandtheCreatureseekingtoavengepersonalwrongs.

ThisversionisalsoinspiredbyShelley’skeeninterestinsomeofthemostadvancedscientificthinkingofherday,inparticularGalvanism,andHumphryDavy’sworkonthecreativepotentialofElectricity.Shewaslivingthroughatimeinwhichthepaceofscientificdiscoverywasrapid,andScienceseemedabletoempowerMankindinalmostsuperhumanways.Wealsodrawonherromanticinterestinthesublimeas mademanifestinwildandchallenginglandscapes:muchoftheactiontakesplaceinexcitingAlpineandArcticsettings.Thereisalsoastrongliterarybackground,forexampletheexplicitparallelsmadewithJohnMilton’sParadiseLost-weretainthesebutinalimitedway,concernedthatthesemightconfuseratherthanenrichtheactionforaudiencesunfamiliarwithMilton’spoem.

Peakesoughttoinspirewonderinhisaudiencebytherealisticstagingofdramaticnaturalevents.Todayfilmandtel-evisionarebetterequippedtoprovidespectacleofthatkind.Soweuselanguage,visualsandsound(includingpuppetry)inmoresuggestiveways,aimingtoengagetheimaginationoftheaudience-andhopefullycreatingauniqueenergyandrapportateachperformance.

Therefore,theprimeaimistocreateacompellingtheatricalevent,butthisversionalsoseekstoprovokethoughtanddiscussionaroundmanykeyissuesthathaverenewedsignificanceforustoday:forexample,theethicsofgeneticexperimentation,andthecausesofviolentbehaviourinsomemarginalisedsocialgroups.Whenitwasfirstpublished,Shelley’snovelattractedmanyhostilereviews,becauseitengagesdirectlywiththemesthatwereconsideredtaboo.Isitsmaterialinanywaytabootoday?Whatisnotindoubtisthecomplexityofthedebateshewishesthereadertoengageinaboutthethemesofthenovel.Workingonthishasleftmefullofadmirationfortheachievementofthenineteen-year-oldnovicewriter,whorespondedtothechallengeofinventingaghoststory‘tocurdletheblood,andquickenthebeatingsoftheheart’bywritingabookthatisstillwidelyread,andwhichhasinspiredinnumerableadaptationsforscreenandstage.

JohnGinmanApril2016

IllustrationforCornhillPublishingCompany,1922editionofFrankenstein

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FrankensteinwasthefirststoryMaryWollstonecraftShelleyeverwrote.Theoriginalversionwaspublishedin1818,andwasrapidlyreimaginedasastageplaythatwashugelypopular.Manyothertheatricaladaptationsfollowed.Thefirsteditionofthebookwaspublishedanonymously.Sometimeswomenneededtodothistocounternegativereactionsfromthemaledominatedpublishingindustry.Writingasaprofessionwasveryuncommonforwomenatthistime.Asecondedition,publishedinParisin1823,didciteMaryastheauthor.

Afurthereditionin1831,sawMarymakesignificantchanges,inparticulartoningdowntheinsinuationofsomethingcontroversialintheloveaffairbetweenVictorandhisadoptedsister.Shealsochangedtheframenarrative;theoriginalwasstructuredinto3sections,butthenewerversionflowsthrough,chapterafterchapter.

TheoriginalversionhadanextractfromMilton’sepicpoemParadise Lost, atitsstart:Did I request thee, Maker, from my clayTo mould me man? Did I solicit theeFrom darkness to promote me?ThisepigraphreflectstheimplicitquestioningofreligionandChristianityinherdarkandcomplexethicalstory.Thiswasremovedinlatereditions,perhapsduetofearsofupsettingtheChurch.

Intheprefacetothe1831edition,Marytalksofherwritingprocess,alludingtoitssimilaritieswithscientific‘creation’,andofVictorFrankenstein’sactions.Shewrites‘Invention, it must be humbly admitted, does not consist in creating out of void, but out of chaos’.Thisfollowingstatementshedssomelightonhowsheworkedasawriter,drawingexistingideastogethertomakeastory.Herideasdonotcomeoutofnowhere,andthisperhapsreflectsherlatersuccesssasaneditorofothers’writing,herabilitytoreworkandimproveexistingmaterial.Shealsowrites‘Invention consists in the capacity of seizing on the capabilities of a subject, and in the power of moulding and fashioning ideas suggested to it’.

Story

Canyouthinkofastoryorfilmthathasaframenarrativewithinit?Howdoesthisstructureaffectthewaythestoryistold?Canyouthinkofastoryorfilmscriptwheremultipleperspectivesaretold?WhydoyouthinkMaryShelleychangedaspectsofthestorybetweeneditions?Whatimpactmightthishavehad?Comparethetwoeditionsandconsidertheimpactofeachversionofthenarrative.

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Epistolary novel

ThewordepistlecomesfromtheGreek,meaningletter.Anepistolarynovelisastoryrepresentedthroughacollectionofdifferentdocuments.Theycantaketheformofletters,diaryorlogbookentries,newspaperarticles,medicalreportsandotherdocuments.Thisstyleofwritingcan,likedocumentaryfilmmaking,provideamuchgreatersense of realism, and when applied to a horror story such as Frankenstein,addstoitspotency.Italso enables the reader to see inside the characters’innerthoughts,withouttheneedforathirdpartynarrativevoice.

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Thiswritingtechniquesetsoneormorestorieswithinanother,usinganintroductorysceneandcharactersto‘frame’theleadstory.Ithelpstocreatecontextandatmosphereforthemainstory,andprovidesotherpointsofview,additionalvoices.Itoftenmakesforaricherandmorecomplexstory,andgivesthereaderlayersofmeaningtoexplore.Frankenstein is a story within a storywithinastory.WebeginwithCaptainWalton,writingtohisdaughter.Inhisletters,heretellsVictorFrankenstein’sstory.WithinVictor’sstory,weheartheretellingoftheCreature’sstory,andthenwereturntoWaltonagainattheend.

Frame Narrative

Frankenstein or The Modern Prometheus plot synopsis

RobertWalton,anEnglishcaptain,whoseboatistrappedinicenorthofRussia,discoversamysteriousman,travellingacrossthesnowytundraoftheNorthPoleonadog-pulledsledge.Inletterstohissister,Waltonretellsthestoryofthisman,VictorFrankenstein.VictorFrankensteinshareshislifestorywithWalton,hischildhoodinGeneva,hisloveforhisadoptedsisterElizabeth,and his friendship with Henry Clerval. InhischildhoodVictorwasagreatreaderandwasfascinatedwiththesupernaturalandoccultwriters,whilsthisadoptedsisterandfriendareinterestedinpoetryandromanticwriting.Hismotherdies,andhetravelstoUniversityinIngolstadtwhereheredirectshisattentionstotheteachingsofrationalscience,chemistry,biologyandthestudyofelectricity.Mergingthetwoareasofstudy,thatmostwouldperceivetobeinconflict,hediscoversthesecretoflife.Byrobbinggraves,hecollectsthebodypartsheneedstocreateananatomicallycompletehuman,anduseselectricitytogiveitlife.TheCreaturecomesalive,butishorribletolookat,itsfleshbarelycoveringitsmusclesandbones.Victorishorrifiedandabandonshiscreation.TheCreaturedisappears,FrankensteinbecomesillandClerval,whohascometovisit,caresforhimbeforeVictorsetsouttofindthemonster.VictorlearnsofthedeathofhisbrotherWilliam,whowasstrangled.AfamilyservantisaccusedofthemurderbutVictor,seeingtheCreatureinthesamecity,believesotherwise.Theservant,Justine,isconvictedandexecutedforthemurder,Victorsaysnothingbutfeelsimmenseguilt.AsFrankensteintravelsonMontBlanc,hefindstheCreaturewhotellshimhisownstory,learninglanguageandhumanbehaviourfromsecretlywatchingafamily,readingandstudyingliteratureandpoetry.Hetalksofreactionsofterroranddisgustfromthosethatheencounters.Heiscalled‘monster’andchasedawayandbeaten.TheCreatureislonelyandangryanddemandsthatVictormakehimafemalecompanion.VictoragreesontheconditionthattheCreatureneverreturntoEurope.Whilstmakingthecompanion,VictorbeginstopreparetomarryElizabeth,butisconsciousofthejealousythattheCreaturewillfeel,soendeavourstocompletethefemalefirst.Torturedbyideasofthetwocreaturesbreedingandbecomingathreattosociety,hedestroyswhatisworkingon.TheCreature,witnessingthis,threatensVictorandsoonafter,HenryClerval’sbodyisfound.Victorisaccusedofthemurderbutlaterclearedofthecharges.DespitetheCreature’sthreat,VictordecidestomarryElizabeth,butsheismurderedontheirweddingnight.FrankensteinsetsouttotrackandkilltheCreature,andendsupfollowinghimacrosstheNorthPole.Atthispointweareuptothepresenttime,andWalton’sletterstohissistertalkoftheotherproblemsoftheirboatandtheirjourney.TheboatcrewplantoreturntoEngland,butFrankensteinrefusestoabandonhissearchfortheCreature. Frankenstein’shealthfailsandhedies.ShortlyafterwardstheCreatureisfoundinVictor’sroom,hegivesaspeechoverthebody,grievingthelossofhischanceforpeaceandcompanionship,andpromisestoburnhimselftodeathintheNorthPole,leapsoutofthewindowanddisappearsintothenight.

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WhydoesVictornevernamehiscreation?Whatdoesthistellusabouttheirrelationshipandtheidentityofthecreature?

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Characters VictorFrankenstein Thescientistandscholarwho,discoveringthesecretoflife,createsa‘creature’capableoflearning,lovingandkilling.Victor,disgustedbyandashamedofhiscreation,abandonsit,andthenfindstheCreaturewon’tleavehimalone.

The Creature Madefrompartsofcorpsescollectedfromgraves,thisintelligentandsensitivecreationisbroughttolifeandrejectedbyVictor.Heseeksrevengeagainsthiscreator.

RobertWaltonAsailorwhoseboathitsiceintheArctic,wherehemeetsVictor,pursuingthecreature.Walton’sletterstohissisterbeginandendthestory.

AlphonseFrankenstein Victor’sfather,whooffersVictorcomfortandremindshimoftheimportanceoffamily.

ElizabethLavenzaAnorphanandVictor’sadoptedsister,whohelatermarries.SheistheclassicGothicnovelfemalecharacter,passiveandpatient,andultimatelythemonster’sfinalvictim.Inthe1818versionVictorandElizabetharecousins.

HenryClervalVictor’sclosefriend,whonurseshimbacktohealthandtowhomVictorconfesseshisterriblesecret.HenryismurderedbytheCreature,butVictorisaccusedofthecrime.

WilliamFrankensteinVictor’syoungestbrother.HeisstrangledbythemonsterasrevengeforVictorabandoninghim.VictorfeelsimmenseguiltforWilliam’sdeath.

JustineMoritzAfamilymaid,adoptedintothehouseholdbyVictor’sparents.SheisincorrectlyblamedforWilliam’smurderandexecuted,addingtoVictor’sguilt.

CarolineBeaufortCarolineistakeninbyAlphonseFrankenstein,wholatermarriesher.ShediesofscarletfeverjustbeforeVictorleavesforhisstudiesinIngolstadt.

BeaufortThefatherofCarolineandafriendofVictor’sfather.

DeLacey,Felix,AgathaandSafieAfamilyofpeasantsnearwhosehomethecreaturehides.Watchingthem,themonsterlearnshowtospeakandinter-act.Whentheyfinallydiscoverhim,theyareterrifiedandbeathim.

M.WaldmanandM.KempeVictor’steachersatUniversity,representingmodernscience.TheyinstallapassionforchemistryandphysicsintheyoungVictor.

Mr.Kirwin AmagistratewhofalselyaccusesVictorofHenryClerval’smurder.

Blackeyed’sproductionfocusesontheyoungercharactersinthenovel.(SeethenotefromwriterJohnGinman)

Occult

Theoccultmeansmystical,supernatural,ormagicalpowersorpractices.

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EarlyillustrationsofFrankenstein’smonsterImagefromTheBritishLibrary

Casting BlackeyedTheatreproductionsaredesignedtotourextensivelytotheatresacrosstheUK,soemploysmallcastsplayingmultipleroles.Frankensteinisperformedbyanensembleoffive(fourmen&onewoman)whodividetherolesbetween themselves.

Multiple roles

‘Multi-roling’isatheatricaldevicewherebyactorsplaymultiplepartswithinaproduction.Thistechniqueisfrequentlyusedtominimisethenumberofperformersneeded,andissometimesemployedtocommentonarelationshipbetweentwocharacters.

Somedirectorsusethetechniqueasachallengetotheactors,andtokeepperformancesfresh.IntherecentNationalTheatreproductionofFrankenstein directorDannyBoyle’stwoleadactors(BenedictCumberbatchandJonnyLeeMiller)swappedroleseachnight.TheyplayVictorandtheCreature,andthisdirectorialdecisionreflectstheintenserelationshipbetweenthetwocharacters,andthesuggestionthatthemonsterisapartofVictorandviceversa.Thiswillresultintheactorshavingadeeperunderstandingofthecharactertheyareplay-ingalongside.

TheCreatureisamulti-personpuppet, moved by three

performersatthesametime.Seethepageaboutpuppetry

tofindoutmore.

Look at each scene in the novel and the character list. Withonly5actorsonstage,seeifyouworkouthowyou can cover all the characters. How many roles will eachperformerneedtocover?Isthereacharacterwhoisineverysceneandcanonlybeplayedbyoneperson?Don’tforgetthattheCreatureneeds3peopleinorderto move.

Student activity

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Top:PlaybillforperformanceofPresumptions;orTheFateofFrankensteinatEnglishOpera

HouseJuly1823.

Bottom:BorisKarloffasFrankenstein’sMonsterinthe1931filmadaptation.

Adaptationsintheatreandfilm SinceFrankensteinwasfirstpublished,therehavebeenmorethan100adaptations,satires,reworkingsandproductionsfortvandfilm,andmanymoreonthestage.Frankenstein’sinitialsuccessasabookwashelpedbyverypopulartheatricaladaptations.Presumption;or,theFateofFrankensteinbyRichardBrinsleyPeakepremieredin1823andranfor37performances.Itwasadaptedasamelodrama,andwasnotconsidered‘traditional’theatreatthetime,alongwithotherinnovativeformssuchaspuppetry,burlesque,pantomimeandmusicals.Thiswasoftenwherethemostinterestingandcuttingedgetheatrewastakingplace.

MaryShelleyandherfathersawittogetheranditsparkedWilliamGodwin’sdecisiontohelpMaryprintasecondeditionofthebook.Intheadaptation,thecreature,whoisnevergivenanameinMary’sstory,islistedintheprogrammeas-------.Marylikedthisalot,asherlettertoafriendshows:

“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 dramatic 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’sletterstoLeighHunt,August4th1823.

AtthesametimeHenryM.Milner’sFrankenstein,ortheDemonofSwitzerland,hadopenedattheCobourgTheatre.Bothadaptationschangedthestory,focussedondifferentelementsthanShelleyhad,andevenaddedwholenewcharacters,suchasFrankenstein’sassistantFritz.

AveryrecentstageadaptationbyNickDearpremieredattheNationalTheatrein2011,andwasdirectedbyDannyBoyle.ItdrewonallthedramaticpresenceandGothichorrorofthenovel.Youcanwatchadocumentaryaboutthemakingofthework,includinginterviewswiththedirector,writerandactors,here. https://www.youtube.com/watch?v=tkYgCZ0DWwc

InNickDear’sadaptation,theCreaturetakescentrestage,weseethestorythroughhiseyes,hissorrow,angeranddisappointment.

Thefirstcinematicversionappearedin1910.Itwasasilentfilmandhadremovedanythingthatthemakersconsideredmightshockanaudience.Sincethentherehavebeenahugenumberoffilmadaptations,eachtakingadifferentslantonthestory,humorous,frightening,focussingonthescience,thefaithaspectsorthepurehorror.

Watchafilmadaptationandcompareittothenovel.OnceyouhaveseenBlackeyedTheatre’sproductions,com-parethattothefilmaswell.Whatdifferencesdoyouseeandwhatdoyouthinkthereasonswereforthosediffer-entchoicesinadaptation.Whymightdifferentadaptationsatdifferenttimesinhistoryfocusondifferentaspectsofthestory?Whatdoesitsayaboutthenovelthattherearesomanyadaptations?AndwhatdoyouthinkMarymighthavethoughtofthem?FindthefullversionofMary’slettertoLeighHunt,whatelsedoesshesayabouttheadaptation?Writeyourownreviewofthefilmadaptationyouwatch,reflectingonstaging,performanceandadaptation,asMarydoesinherreview.

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The Gothic Novel

Sexual Power

FantasiesinGothicnovelsareoftenplayedoutthrough‘monsters’andwomensuccumbtopowerfulmen and physical lusts. Frankensteinexploresapos-siblyincestuousrelationship,astrangelovebetweentheCreatureandhismaster,andtheCreature’sownirrepressiblesexualdesire.Thereareinterestingparallelsbetweenthisandthesexual‘freedom’thatMaryandherfemalefriendswerebeginningtoexperienceatthetime.Althoughwhatmighthavefeltfree,beingabletohaveaffairsortoliveasasinglewomanforexample,would,inreality,leavewomendestituteandsociallyoutcast,withoutacomparable

impact on the men involved.

The supernatural

SupernaturalelementsarevitaltoaGothicnovel;ghosts,monsters,thedevil,andthebreakingoflawsofnature,toconfuseandfrightenthehumancharacters.

The uncanny

AFreudianterm,usedtoexplainthatstrange,uncomfortablefeelingaboutsomethingnotquitehuman.Itexplainswhyweoftenfeelfrightenedbydolls,masks or automatons.

The sublime

Expressesgreathumanemotion.Itoftenmarriesthatinliteraturewithstunninglandscapesorweather.Findingbeauty in unusual scenes is common in Gothic novels. Ratherthanportrayingbeautyinacalmpeacefulsunset,insteadcharactersfindthemselvesintheheartofastorm,orthemidstofaterrifyingforestatnight,situationsthatareoftenfrighteningoroverwhelming.

Gothicwritingcombinesbothromanceandhorrorandwashugelypopularthroughoutthelate1700sand1800s.IntheVictorianeraitshiftedformandwritersbecameincreasinglymorecreative.Withthesupernaturalandlovealwaysattheirheart,talesfromEdgarAllanPoe,OscarWildeandElizabethGaskellalldrewonthepublic’sinterestintheunexplainedandtheromanceofeternallove.Usinglandscape,dramaticweather,tragiceventsandtempestuousjourneys,lovestoriesandsupernaturalthrillerswerebroughttolife.Youcanstillseemanyofthesetechniquesinmodernwritingandfilms.

Gothicnovelsoftencentrearoundavastfrighteningbuildingorcastle,sweepingepic,remotelandscapesandvulnerablewomen,overcomebypowerfulsexualpredators,menormonsters.

Many Gothic novels draw on three key themes, the supernatural,theuncannyandthesublime:

Front Cover for The Modern Prometheus 1818(Lackington,Hughes,Harding,Mavor&Jones)

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Gothicwritingoftenappearsattimesofpolitical,religiousorsocialchangeinsociety,perhapsasawaytotryandexploretheupheaval,andtosafelyreflectontheethicaldiscussionstakingplace.

Thefirsttimetheword‘Gothic’wasusedasadescriptionforliteraturewasinHoraceWalpole’sstoryThe Castle of Otranto. He created anelaborate,fakebackstoryforhiswork,pretendingitwasanancientrelic,severalhundredyearsold.Gothicfictionoftendrawsonthepast,oldfashionedwaysoflivingincontrasttothemodernworldofthecharacters,orghostsorspiritsfromalongtimeago.BramStoker’sDraculaisagoodexampleofthis.

ThirtyyearslaterAnnRadcliffeusedthetermandthetechniquesinhernovel The Mysteries of Udolpho,whichfeaturedamysteriousancientItaliancastleandasinistervillain.Infact,allofRadcliffe’snovelsaresetinforeigncountries,oftenwithbroodinglandscapes,charactersandvastepicscenery.ThroughhercharactersshecombinedtheGothic,withtheRomantic.

A second wave of Gothic novels in the second and third decades of the 19thcenturyestablishednewconventions.Includingtheintroductionofa‘double’,adoppelganger,orshadowofyourselfthatfollowsyourelentlessly,ametaphorforconscience,ordeathorperhapsone’ssoul.

Character’sbeingpursuedbytheirdoublesoccursthroughoutGothicwrit-ing.ThemostfamousexampleisDrJekyllandMrHydebyRobertLouisStevenson.

‘Man is not truly one, but truly two’ Robert Louise Stevenson, Dr Jekyll and Mr Hyde

ReadBramStoker’sDracula andexplorethecontrastbetweentheoldfashionedlifeinDracula’scastle,withthebusymodernworldinLondon.Whatcommentistheauthormakinginthiscontrast?What parallels are there between Dracula and Frankenstein?

Stretch

YouTube

WatchthisusefulyoutubevideofromtheBritishLibrarywhichexplainsGothic themes and ideashttps://www.youtube.com/watch?v=gNohDegnaOQ#t=244

ImagesTop:FrontcoverofTheCastleofOtranto

and The Mysteries of Udolpho.Right:ImagefromthestageadaptationofGothic

novelStrangeCaseofDrJekyllandMrHydewhereRichardMansfieldplayeddualroles.(1895)

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Science

MaryShelleywaswritingintheveryearly1800s,onthecuspofgreatdiscoveriesandadvancesinscience,medicineandastronomy.Theseadvancesbegantoresolvepreviouslyunansweredquestionsandraisedmanymore.

The1700sand1800ssawrapidscientificprogress,thatrevolutionisedEuropeanlife.Sciencewasansweringmanyofthequestionsthatpeoplehadbelievedtoonlybeexplainablebydivinepowerandmiraclesandthereforethenatureofreligionitselfbegantochange.

The1700sinEuropeisoftendescribedastheAgeofEnlightenment,atimewhenrationalityandreasonhadaswellofsupport,andtheoverwhelmingpoweroftheChurchbegantobequestioned.Thegreateracceptanceoftheobjectiv-ityofscienceenabledscientiststoraiseconcernsaboutthepracticeofspiritualhealersandvillagedoctorswhousedmagicandprayertocureillness.

TheEnlightenmentalsosawpoliticians,philosophersandwritersbegintocallforgreatertolerance,liberalismandthecriticalquestioningofinequality;thedissatisfactioninunequalpowersystemsfuelledworldchang-ingeventssuchastheFrenchRevolution.Thisperiodofgreatchangeraisedmanydebatesandfierceconflictinaca-demiccircles,alongwithagreatwealthofwritingandcreativeoutput.

MaryShelleyreflectsthisconflictinherwriting.VictorFrankensteinisinspiredinhisearlyadultlifewiththewritingsofoccult,magicalphilosopherssuchasCorneliusAgrippa,whowaspublishingworkinthe1400–1500s,explainingandexploringhisbeliefinimmortality,magicandtheparanormal.Agrippawasatheologian,andsawtheparanormal,exorcisms,incantationsandmagicaspartoffaith.

LuigiGalvani discovered that muscletissuereactedtoelectricity.Heexperimentedondeadfrog’slegs,passingelectricalcurrentsthroughthemandwitnessingthemusclesreanimate,makingthelegstwitch.ThisdiscoveryledtoAllesandroVoltainventingtheelectricbattery.

LuigiGalvani1737–1798

AllesandroVolta1745-1827

Michael Faraday 1771–1867

André-Marie Ampère 1775–1836

HumphryDavy1778-1829

Electricity in Europe at the time

He studied the impact of electricity on the human body.

Voltainventedamachinethatcreatesstaticelectricity,andthefirstchemicalbattery,providingcontinuouselectricaloutput.

Hediscoveredthatmagnetsandcopper wire created an electrical current.

Ampère discovered electromagnetism.

AnEnglishscientistwhoinventedthefirstelectricallightbulb.

AsketchillustratingsomeoftheexperimentscarriedoutbyGalvanionfrogs.(1791)

Faith MaryShelleyopenedheroriginaltextwithaquotefromMilton’sParadiseLost,anepicpoemaboutAdamandEve,theoriginsofthedevilandthefallfromparadise,whentheyaretemptedtoeatthefruitintheGardenofEden.

DidIrequestthee,Maker,frommyclayTomouldmeman?DidIsolicittheeFromdarknesstopromoteme?

Therearemanyquestionsaboutfaithinthiscomplexnovel.Manypeopleseethecreatureasametaphorforhu-mankind,createdbyGodandabandonedontheearthtostruggleandsuffer.ThisisachallenginganalogytomakeforChristianity,becauseinthisanalogyVictorisGod,afailed,frightenedandunethicalman,flawed,imperfectandashamedofhiscreation.Humansthen,portrayedbythecreature,areanaccident,anexperimentgonewrong.Inthisanalogy,humanshavebeenabandonedand,inanger,commitatrocitiestoattemptsomekindofrevenge.

SomeseeVictor’splightasananalogyformanchallengingGod/religionitself,liketherevolutionarywritersandphilos-ophersofthetime.Bycreatinglifehimself,heisrenderingGodunnecessaryandquestioningtheverysanctityoflife.

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Stretch

WhatisMaryShelleysayingaboutreligionandChristianitybylinkingittothestoryofPrometheus?Whatcurrentpoliticaleventsareusingreligiousstatementstotalkaboutthesanctityoflife?Whatworldeventscanyouthinkofthatusereligionasanexcusetotakelife?WhatworldeventscanyouthinkofthatusereligionasexcuseNOTtotakelife?WhatdoestheMiltonquotemean?Howdoesitreflectaparent/childrelationshipandwhatisthissayingaboutGodandhumankind?

Mary’sfulltitleforthenovelwasFrankenstein, or The Modern Prometheus.

Prometheus is an ancient Greek myth. Prometheus modelled man out of clay, much as God does in the Bible.PrometheuslovedhiscreationmorethantheothergodswithwhomheresidedonMountOlympus.WhenZeusdemandedthathumansgiveanimalsacrifices,PrometheustrickedZeus,wantingtoprotectthehumans.Angryatbeingtricked,Zeuspunishedmanbytakingawaythegiftoffire.ButPrometheuslitatorchfromthesunandbroughtfireback.Zeus,evenangrier,sentPandora,thefirstwoman,whosecuriosityunleashestheexistenceofevil,sufferingandmiseryontheworld.ZeusfurtherpunishesPrometheusbychaininghimtoarock,wherehewastormenteddailybyagianteagletearingathisliver.AsPrometheusisimmortalinthisstory,hisliverregenerateseachnight,onlytobeeatenagainthenextday.

TherearemanyparallelsbetweenthisstoryandthestoryofAdamandEveintheGardenofEden,butinthisstorythegodsarevengeful,spitefulandcruel.Ittalksofpunishmentofhumans,andtheabuseof power.

Prometheus

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Therearemanyethicaldebatesthatseereligionandscienceinconflict.Forexample,debatesaroundabortion,euthanisia,stemcellresearchorcloningoftendrawinfaithbasedargumentsaboutthesanctityandpreciousnessoflife.EthicaldebateslikethisonetouchonthemessimilartotheethicaldebatesinherentinFrankenstein.Oneoftheconflictsbetweenfaithandscienceliesinthereligiousbeliefinthingsthatbreakthelawsofnatureandscience.Ascientificunderstandingofahumanbeingwouldsuggestthatlifeendsoncethebodyandbrainaredead.Somefaithswouldsuggestthatanelementofthehumanidentitycancarryonbeyonddeath,thatthereisanafterlife.Somefaithsrequireabeliefinmiracles;apersondefyingnaturallawbywalkingonwaterorturningonematterintoanother.Themorescienceadvancesandweunderstandhowtheworldworks,theharderitisforsomepeopletobelieveinmiracles.Othersseethemmerelyasametaphororstorytoexplainmoralmeaning,andthattheyarenotinconflictwithscientificunderstanding.

Philosophy

Student Activity

Ingroupsselectoneoftheenquirytopicsbelowandexploretheissues,imaginingmanydifferentviewpoints,eveniftheyarenotyourown,untilyoufeelyouareclosertoananswer.Trytoalwaysjustifyyourstatements,beopentochangingyourmindinthelightofabetterargument,identifyanddefineconceptsandnoticethedifferencebetweenfact and opinion.

HumanRightsVictorhascreatedlifebutisthislifesacred,likeotherhumanlife?Doesthecreaturehavethesamerightsasotherhu-mans?Areallhumansequal?Arerightsindependentofouractions,ordoweonlyhavethemifwebehavewell?Doesacriminalhavethesamerightsasothers?

The SoulJohnLocke’sEssay Concerning Human Understandingarguedthathumanbeingsareablankslateatbirth,a‘tabularasa’.Identityisformed,notthroughtheGod-givengiftofasoulwhilstinthewomb,butthroughlearningandmimick-ingfamilyandsociety.Whatdoyouthinkaboutindividualidentity,areweacombinationofwhatwehavelearntandexperienced,oristhereanaspectofusthatismorethanthesumofourparts,asouloraspirit?Couldthisexistafterthebodyisnolongerpresent?

ResponsibilityVictorfeelsaresponsibilitytohiscreation,despiteabandoningitinitially.Doesaparenthaveaninnateresponsibil-itytotheirchild,andisthatgreateriftheyaregeneticallyrelated?Areweaproductofnature,ornurtureorboth,orneither?Ifwearedictatedbyourgenes,areweincontrolofwhoweare?Ifweareaproductofsociety,arewetoblameforouractions?Isaparentresponsiblefortheactionsoftheirchild?Ifnot,whydoesthecurrentgovernmentfineparentsifchildrenfailtoattendschool?

TheIndividualMaryShelley’sfather,WilliamGodwin,wasanimportantpartofthephilosophicalUtilitarianmovement.Hebelievedthatemotionshouldnotplayapartinhowwedecidewhattodo,insteadweshouldrelypurelyonreason.Whatimplicationswouldthishaveforconceptssuchascompassion,caring,family,empathy?Howwouldyoudecidewhotorescuefromaburningbuilding,asinglememberofyourownfamilyoragroupof300stran-gers,someofwhomwillbe‘good’peopleandsomewillbe‘bad’people?

Feminism

MaryShelley’smother,MaryWollstonecraft,wasoneofthefirstfemalewriterstopublishworkaboutgenderequality.Her1792publication,isheraldedasthestartingpointofpublishedwritingaboutthesubject.Inthisworksherecognisedthateducationwasthekeytoequalitybetweenthesexes. Inthe1700schildrenfromworkingclassbackgroundswouldbeeducatedforafewyears.Middleclassboysweremostcommonlyeducatedingrammarschools,butgirlswouldbeeducatedathome.Thismeantthatmostgirlsdidnotreceiveanyformaleducationbeyondayoungage.Wheretherewereschoolsforgirls,theyoftenfocussedonsewing,cookingandfashion.

Thiswasasystemsetupbymen,whoheldallpositionsofpower.MaryWollstonecraftbelievedthatthesefewpowerfulmenwerewithholdingequalaccesstoequaleducationforwomen,inorderthattheyremaininpoweroverwomen.Thiswasaconsciousanddeliberatesystemofdisadvantage.

MaryShelley’sfather,WilliamGodwinalsohadrevolutionaryideasforhisera,questioningtheextremeclassdividesinEnglandandthepowerandprivilegeoftheartistocracy.

In1897MillicentGarrettFawcettfoundedtheNationalUnionofWomen’sSuffrageSocieties.Theiraimwastochangegenderinequalityinsociety,throughcampaigning,writingandlobbyingpoliticalleaders(whowereallmen).HerworkiscontinuedtodaybytheFawcettSociety.

MaryShelleywasalsoapioneer,asanearlyfemalewriter.Societystillexpectedwomentoremaininthehome,beeducatedindomesicchores,maintainthehome,andengageinsocialactivities.Rousseau,afamousphilosopher,arguedinEmile,histreatiseoneducation,thatwomenshouldonlybeeducatedforthepleasureandentertainmentofmen.Womendidnothavecareerswithoutgreatstruggle,andsomewomenwriterspublishedworkundermalepseudonyms,fakenames,inordertoavoidpublishersrejectingtheirworkbasedongender.

Overthefollowingtwohundredyears,womenandmenhavecontinuedtofightforequalrightsforallhumanbeings,regardlessoftheirgender.

However,eventodaywomenarestillunequalinsocietyinmanyways.Forexample,womenarehugelyunderrepresentedinpositionsofpower.InfacttherearemoremennamedJohninchargeofFTSE100companiesthanthereare women in the whole list.

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Source:Guardian06/03/2015

Definition:FTSE100isanindexofthefinanciallylargest100companiescurrentlylistedontheLondonStockExchange.

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Today,intheUKwomenarestillpaidbetween10%and34.5%lessforthesameworkastheirmalecolleagues.

Paygap• Thefulltimegenderpaygapis10%,andtheaveragepart-timepaygapis34.5%.• Itisestimatedthatforeachyearamotherisabsentfromtheworkplaceherfuturewageswillreduceby5%.• Approximately70%ofpeopleinnationalminimumwagejobsarewomen.• 54%ofwomenworkingpart-timehavebeenfoundtobe‘employedbelowtheirpotential’,whichamountsto2.8

millionwomen.(http://ukfeminista.org.uk/)

Genderinequalityisfargreaterhowever,inotherpartsoftheworld.Fewergirlsthanboysareattendingschoolandgirlsaresubjecttofargreaterviolence,oppression,arrangedmarriagesanddomesticslaverythanboysworldwide.However,manycountriesthatyoumightexpecttobedoingbadlyingenderequalityforwomenareactuallydoingbetterthantheUK.TheUKdoeswellinequalityoneducationandhealth,butbadlyonpoliticalandfinancialequality,whereasinRwanda,64%ofthemembersofparliamentarewomenputtingitinthetoptenglobally.TheUKcomes56thinthatlist,justbelowKyrgysztan.

MillicentFawcett(fourthfromleft,bottomrow)ataSuffrageAllianceCongress,London1909

Stretch

TryresearchingothergenderrelatedstatisticsfortheUK,whatsurprisesdoyoufind?Canyouthinkofreasonswhytheremightbethesedisparities.Whataboutsexandgenderaroundtheworld,howarewomendisadvantagedinothercountriesandcontinents?Whataboutmen?Whatinspiringgenderactivistscanyoufindoutabout,trytofindsomeonefromeachcontinent.Whatactionscouldyoutaketopromotegenderequalityinyourschoolorcommunity?

Sex & gender definitions

Sex-aperson’ssexisdeterminedbytheirgeneticsoranatomyatbirth.Peoplecanbemaleorfemaleorintersex.Intersexisatermusedforsomeonewhoseanatomydoesnotfitintothepre-determinedcategoriesofmaleorfemale,apersonmaybebornwithbothreproductionorgans,orneither.

Gender-genderisatermusedtodescribeaperson’sownsenseofthemselvesasmaleorfemaleoronaspectrumbetweenthetwo.Aperson’sgendercanbefluid,andmayberepresentedinhowtheydress,behaveorchoosetodescribethemselves.Apersonmaybeassignedasexatbirthbutfeeltheirgenderisdifferent.Genderisnotrelatedtosexuality.Gendersareexpresseddifferentlyindifferentcountriesandculturesanditchangesovertime.Somefindsocietalexpectationsofhowacertain‘gender’shouldbehaveordresstobeoppressiveorexcluding.

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Puppetry

BlackeyedTheatreisveryexcitedtobeworkingwithpuppetmakerYvonneStonetobringtheCreaturetolife.HerearesomeimagesofYvonne’sfirstmodels.

Multi person puppetry

Therearemanydifferenttypesofpuppetryfromacrosstheworldandmanydifferentapproachestostyle,techniqueandscale.TheCreaturewilluseatechniqueoftenreferredtoas‘multipersonpuppetry’.

Upto3performerswillworktogethertobringtheCreaturetolifeonstage.Onepuppeteertakesthelead,oftenmanipulatingtheheadandchest,whilsttheotherssharethelegsandarmsorleftandrightsideofthebody. They will hold these parts of the body directly with theirhands,orsometimeswithdiscreethandles.

The puppeteers must work as one person to create the illusionthatthepuppetisaliving,breathingthingandtheywillspendalotoftimeinrehearsalexploringdifferentmovementsandgesturesinordertomanipulate their own element in complete synchronicity with the other puppeteers.

Breath

Focus

One of the key principles of puppetry is the use of breathandtechniquesthatcreatetheimpressionthatthepuppetisbreathingthroughgentlemovementsofthepuppet’storso,andtheperformers’ownbreathingpatterns.Usingacarrierbag,seeifyouandapartnercanmakeitappeartobebreathinggently.

When puppeteers focus their eyes solely on the part of thepuppetthattheyareholding,theaudience’sattentionisdrawndirectlytothepuppet and away from the puppeteer. Some puppet companies play with the focus of the puppeteers and invite the audience to be conscious ofthepuppeteerandthepuppetatthesametime.Sometimestheyallowthepuppettonoticetheirownpuppeteer! Continueexploringthecarrierbag,inviteanotherperson to watch. Ask that person to tell you when your bagisbelievableasalivingthing,andwhenitisn’t.Whatdifferencedoesitmakeifthepuppeteerslookatthebag,oriftheylookelsewhere.Canyourbagpuppetacknowledgeyou,thepuppeteerandstillbebelievabletotheaudience?

Images:Scalemodelsofthepuppet,alsoknownas‘maquettes’.

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Left:Experiments

Below:Fullscaledrawingsfront and side

Left:Workingonthejointsor skeleton of the Creature

Below:Research

Above:Materialscolourpallete

Costume

AnneThomsoncreatesmoodboardsandillustrationsofcostumesduringthedesignprocess.

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Set

Herearetwoinitialdesignsketchesbysetdesigner,VictoriaSpearing.

Thetopimageshowsthestartingposition;aship’smast(4minheightatmost)withaladderonesideleadinguptoahookthepuppetcanbehungontobeburntattheend,andropesontheothersideagainstwhichthepuppetcouldbeheldagainsttolooklikeheisclimbing.Aroundthebaseisapileofcrates,furniture,planksetctocreatedifferentstorytellinglocations.Itcouldlooklikeabigtreeiflitfrombehind.Thereisshipdressing/fenceupstagerightasanareaforcostumeorinstruments.Thesecondpictureshowsthepileofcrates/furniturebrokenapart-smalltruckswhichsplitofflikethecracksintheicetobeusedfordifferentlocations.

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Watching the showWehopethatyouarelookingforwardtoyourvisittoseeBlackeyedTheatre’sproductionofFrankenstein.

Inordertomaximiseyourstudentsunderstandingoftheshowwehavecreatedanumberofquestionsaboutthedifferent‘lenses’throughwhichyourstudentscanwatchtheshow.Theselensesallowthestudentstofocusinontheperformance elements, and analyse them in the moment.

Somestudentsmayfindithelpfultomakenotesduringtheshow,othersmayprefertoconcentratefullyontheproductionandmakenotesafterwards.Youcanalsochoosewhethertoallocategroupstolookspecificallythroughdifferent‘lenses’duringtheshow,oraskallstudentstocoverallareas.

Performances

Howdotheactorssharetheroles?Howdoestheaudienceidentifythecharacters?Howwouldyoudescribetheactingstyle/s?Isthereaparticularperformerthatstandsoutandwhy?Identifythevocaltechniquesusedthroughouttheshow.Howdotheactorsphysicalisethecharacters?Aresomecharactersmorestylisedthanothers,andwhy?Observethechoreographywithinthepiece?Howisthe‘ensemble’used?Howhavethecastcreatedthe‘visual’imageswithinthepiece?

Story

Whathappensineachscene?Isthestoryclear?Breakthestorydownintodifferentsections.Whathappensduringthetransitions?Whatthemesareapparent?Identifymomentsoftension,suspense,con-flict,howdidtheseengageyouasanaudiencemember?

Music and Song

Whereissongusedwithintheshow?Whateffectdoesthishaveonyourunderstandingofthestory?How would you describe the style of music?Whichactorsplaywhichinstruments?

Visual Design

SetSketch the main scenic elementsHowarethedifferentplacescreated?Whydoesthesetlookthewayitdoes?Whatarethevisualqualitiesoftheset?Whatmovesandwhatisstatic?Howaretheprojectionsbeingused?

LightingHowdoesthelightingcreateatmosphere?Howislightingusedtohelptellthestory?Canyouidentifylightingtechniquesusedintheshow?

CostumeHowhavecostumesbeenusedtohelpindicatedifferentcharac-ters?Whereandwhendothecharacterschangecostumes?

lenses

EVALUATION

ACTIVITIES

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Assoonaspossibleafteryouhaveseentheproduction(thesameeveningorthenextdayisideal)encourageyourstudentstositdownandmakesomedetailednotesabouttheshow.

Sketchthescenicelementsandthelayoutfordifferentscenesandmomentsofactionthatstoodout.Considertechniquesthatyoureallyenjoyed.Identifymomentsthatchallengedyou,thatyoudidn’tunderstandormadeyouthink.Runthroughtheproductionelements‘lenses’andwriteasmanyfactsabouttheseareasasyoucan,considerfactsaswellassubjectiveopinions.Imagineyouarewritingareviewforalocalpaper,whatmightapotentialaudiencememberwanttoknowbeforegoingtobuyaticket?

Post production

NOTES

EVALUATION

ACTIVITIES

Snowball

1.Pairupyourstudentsandaskthemtodiscusstheirfavour-itemomentsfromtheproduction2. Then ask them to pick one of those moments3.Askthemtocomeupwithaquestionthattheywouldliketoaskthedirectoraboutthatspecificmoment?4.Mergepairswithanotherpairtoformgroupsoffour5.Askeachpairtosharetheirquestions,anddecideononeofthosequestionstotakeforward6.Mergegroupsoffourtogethertoformgroupsof8andrepeatthenegotiationexercise7.Continuetomergegroupsuntilonelargegroupisformedandthewholegrouphasdecidedononequestionthattheywouldliketoaskthedirectorabouttheproduction8.Setahomeworkactivitywhereeachstudenthastowriteadetailedanswertothequestion

Epistolary Evaluation

Giveeachstudent,orgroupofstudents,oneofthefollowingformats,andsetthemthetaskofwritingashortcriticalreviewoftheproductioninanappropriatestyletothatoftheirformat.

-diaryextract-televisionnewsarticle-tabloidnewsarticle-lettertothecompany-health&safetyreport-loveletter- speech- youtube video-Twitterstatusupdate

Collatetheirevaluationsintoonecompletedocu-ment.

Blog

WriteareviewofBlackeyedTheatre’sproductionofFranken-stein.

Upoloadthefiletoyourschool’swebsite,createyourownblogsiteandsendyourreviewstotheDirector.

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Crew Biographies

JohnGinman-WriterJohnhasbeenworkingprofessionallyinUKtheatreasadirectorandwriterfortwenty-fiveyears,includingperiodsasAssociateDirectorattheBelgradeTheatre,CoventryandtheNuffieldTheatre,Southampton,asDirectorofTheatreatSouthHillParkArtsCentre,andasArtisticDirectorattheSwanTheatre,WorcesterandatContactTheatre,Manches-ter.Duringthe1990shewroteanddirectedextensivelyfortheMidlandsArtsCentreinBirmingham.HespecialisesinthedirectionofShakespeare,themainstreamEuropeanrepertoire(includingBrecht,Molière,andWedekind),large-scalecommunityprojects,andworkforchildrenandyoungpeople,inadditiontodevelopingplaysbynewwriters.IncollaborationwiththecomposerColinRiley,hehasalsodirectedandwrittenthelibrettiforthreeoperas,includingNoir(PurcellRoom,1995),Gulliver(Malvern,1995)andScienceFictions(CDreleaseandtheDrillHall,London,1998).HeisConvenoroftheMAWritingforPerformanceprogrammeatGoldsmithsCollege,London.JohnadaptedBlackeyedTheatre’shugelysuccessful2013productionofDracula.

EliotGiuralarocca-DirectorEliotstudiedEnglishLanguageandLiteratureatChristChurch,OxfordbeforetrainingattheGuildfordSchoolofAct-ing.HeisdelightedtoberenewinghisassociationwithBlackeyedTheatreafterplayingthetitleroleinthecompany’sproductionofTheBeekeeperatWaterlooEast(forwhichhereceivedaBestActornominationinthe2012OffWestEndAwards).HehaspreviouslydirectedDracula,NotAboutHeroesandTheGreatGatsbyforBlackeyedTheatre.HehasrecentlydirectedBaroqueAroundtheBlockforArmonicoConsortwhichissettotourNationallyin2013andpriortothisdirectedtheirNationaltourofMonteverdi’sFlyingCircuswhichwillbetouringtoAmericain2013.OtherdirectinganddevisingcreditsincludeThreeServantsandVoyagersforJetTheatre/CroydonWarehouse,SexandSui-cide,SorryIsland,andPostcardsfromTransylvania(DurhamTheatreCompany),andTheLoveLettersofPrivateBlade(RiversideStudios).Overthelast20yearshehasworkedextensivelyinTheatre,FilmandTV.RecentworkasanActorincludes:TheResist-ibleRiseofArturoUi(LiverpoolPlayhouse/NottinghamPlayhouse),IlTurcoInItalia(RoyalOperaHouse);MeasureforMeasure(ThelmaHoltProductions);ASmallFamilyBusiness(WatfordPalaceTheatre);Don’tLookNow(LyricHam-mersmith);TheComedyofErrors,TitusAndronicus(Shakespeare’sGlobe);TwelfthNight(RoyalExchangeManches-ter);RosencrantzandGuildensternareDead,HorseandCarriage(WestYorkshirePlayhouse);TheBlackDahlia,BuriedAlive,TheCherryOrchard,DemonsandDybbuks(MethodandMadness);AMidsummerNight’sDream,TheTempest(NuffieldTheatreSouthampton);TheGovernmentInspector(SalisburyPlayhouse);ManforHire(StephenJosephTheatreScarborough);TheLiontheWitchandtheWardrobe(LibraryTheatreManchester);Oxygen(TricycleTheatre).Televisionworkincludes:MindGames(ITV)andEgypt(S4C)whileFilmworkincludes:Nine(Lucamar/WeinsteinCompany);NightSwimming(Tri-Star);DIYHard(BritishFilmFoundation)Cake(SubrosaFilms)Forfurtherinformation:www.sainou.com

RonMcAllister-ComposerRonwasborninGlasgow,studiedmusicatGlasgowUniversityandthenwentontocompleteapostgradinThea-treStudiesatUniversityCollege,Cardiff.HecomposedmusicformanyshowsinGlasgowwhichwereperformedatGlasgowArtsCentre(Agamemnon,Woyzeck,TheHardMan)beforemovingSouthtotakeupthepositionofHeadofMusic for South Hill Park Arts Centre. At South Hill Park, Ron wrote music for many shows and musically directed many others(Chicago,GirlsofSlenderMeans,TraffordTanzi).HealsoreceivedcommissionsfromtheScottishArtsCounciltowritemusicforScottishYouthTheatre’sproductionsfrom1984-1988(includingJonathanHarvey’sTheColonist,JohnMcGrath’sTheGamesABogeyandDeniseCoffey’sLizzie’sStrategy).Hewroteandconductedalargesite-specificpiece-PuttingTheSunInItsPlace,performedbytheScottishChamberOrchestrawithScottishYouthTheatreattheGlasgowGardenFestivalin1988.In1990RonlaunchedanartscentreintheBorders(TheMaltingsinBerwickUponTweed),workingasArtisticDirectortherefortwoandahalfyears,andhismusicaladaptationofJamesandTheGiantPeachtourednationallyfromtherein1991.Laterin1991RonmovedtoHuddersfieldtobecomefounderdirectoroftheLawrenceBatleyTheatre,whichhelaunchedin1994.In1995heproducedhisfirstoperathere,asaco-productionwithOperaNorth-ThePictureofDorianGray.Ronhascontinuedtocomposefortheatresincethen,mostrecentlyfromhisbaseatSouthHillParkArtsCentre,wherehewasappointedChiefExecutivein2001.PreviouscomposingworkincludeDracula,TheResisitibleRiseofArturoUiandOedipus(nationaltourswithBlackeyedTheatre),Shakespeare’sR&J(OriginalTheatre)andthelast ten pantomimes in the Wilde Theatre.

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EllieVerkerk-MusicalDirectorElliestudiedattheRoyalCollegeofMusic.MusicalTheatrecreditsincludeKeys/BVdepforJerseyBoys(PrinceEdwardTheatre,London).MusicalDirectorcreditsincludeCabaretAtTheCellarBar(GoldenRatio,SouthHillPark,Berkshire),PlugInTheLeadandMashUpCabaret(PauldenProductions,LeicesterSquareTheatre,WestEnd),CabareteveningsattheLandorTheatre(variousWestEndartists,Clapham,London),BeautyandTheBeastandOh,WhatALovelyWar,TheGreatGatsby,Dracula(BlackeyedTheatre,NationalUKtours),WestEndUnplugged(IntervalProductions,LeicesterSquareTheatre)andJourneyToThePast(HelenaBlackmanfromBBCTV’sHowDoYouSolveAProblemLikeMaria,UKTour).Recordings/albumsincludeMyParade(StephanieFearonfromBBCTV’sOverTheRainbow),TheSoundOfMusicals(variousWestEndartists),andStichedShoesandAnIrishWristwatch(Buswell).VideocreditsincludeLetItGo(Sheridan),andStraightenUpAndFlyRight(AaronDelahunty).SheworksattheReadDanceandTheatreCollegeinReading,Berkshire,andisanassociateMDfortheGuildfordSchoolofActing.Whenshe’snotplay-ingmusicaltheatre,you’llfindherplayinginbandsandfestivalsonhertrumpet!Website-www.ellieverkerk.com

AnneThomson-CostumeDesignerAnnegraduatedfromRoseBrufordCollegeofTheatreandPerformancewithaBA(hons)inCostumeProductionin2013andhassinceworkedasacostumemaker,assistantanddesignerintheatre,TVandfilm.Upongraduating,sheworkedontheWestEndmusical‘Wicked’,afterwhichshewentontoworkwithEnglishNationalBallet,RoyalOperaHouse,NationalTheatreandAnglestheCostumiers.Anne’sfilmandTVworkincludesdesignforseveralindependentprojectsaswellasatraineeshiponthe‘Spooks;theGreaterGood’(2015),contributingtothecostumeworkroomonseason5of‘GameofThrones’andmostrecently‘Taboo’fortheBBC/FX.AnnehasalsodesignedcostumesforproductionsatSouthHillParkArtsCentresincesummer2015,includingAliceinWonderland, The Borrowers, Sweeney Todd and Oliver.

VictoriaSpearing-DesignerSincegraduatingfromBrettonHallin2001,Victoriahasworkedasafreelancetheatredesignerandmaker.TheatreworkincludesTheQueenandI,BugsyMalone,BFG,WhistleDowntheWind,WhenWeWereMarried,CharlieandtheChocolateFactory,Norfolk’sRose,TheCaretaker,AroundtheWorldin80days,AliceinWonderland,TheWizardofOz,BlueRememberedHills,SummerHoliday,HouseandGarden,TheAdventuresofMrToad,HenryV,Oliver!FantasticMrFox,BrassedOff,NoughtsandCrosses,TheLiontheWitchandtheWardrobeandBillyElliot(allforSouthHillParkArtsCentre),MorttheMusicalandLoservilletheMusicalforYouthMusicTheatreUK.TouringworkincludesTheBeekeep-er(forwhichshewasOFFIEnominated),TheGreatGatsby,Teechers,Dracula,NotAboutHeroes,MotherCourage,TheTrial,TheCaretaker,Art,Misery,TheResistibleRiseofArturoUi,Oedipus,OhWhataLovelyWarTheCherryOrchard,Alfie,andTheCaucasianChalkCircle(allforBlackeyedTheatre),SeeHowTheyRun,TwelfthNight,DancingatLugh-nasa,Shake-speare’sR&J,TheImportanceofBeingOscar,MallardandJourney’sEndforOriginalTheatre,TheMad-nessofGeorgeIIIforWildeEnterprisesandTheGo!Go!Go!ShowforShows4kids.ShehasalsodesignedSouthHillPark’shugelysuccessfulpantomimes,DickWhittington,SleepingBeauty,JackandtheBeanstalk,Cinderella,Aladdin,BeautyandtheBeastandPeterPan.InadditionshehasdesignedandmadepropsforuseineducationalproductionsinmostofthemajorLondonmuseums.

CharlotteMcClelland-LightingDesignerCharlottetrainedonanArtsCouncilbursaryatCentralSchoolofSpeechandDrama.RecentlightingdesignsincludeAngelsOnHighforGuildfordInternationalMusicFestival(verticaldanceonGuildfordCathedral),CarmenandtheMar-riageofFigaroforLongboroughFestivalOpera,Art,TheResistibleRiseofArturoUi,Oedipus,OhWhatALovelyWar,TheTrial,Dracula,NotAboutHeroes,TeechersandTheGreatGatsbyforBlackeyedTheatre,PlasticineandButterflyKissforBirminghamSchoolofSpeechandDrama,EvertheBullforDemonstrate,CinderellaforSouthHillParkArtsCentreandTheBaghdadMonologueandChicosdel21forFrancesMLynch/ElectricVoiceTheatre.

Crew Biographies continued...

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YvonneStone-PuppetsandPuppetryYvonnestudiedPuppetryattheCentralSchoolofSpeechandDramainLondonhavingpreviouslyattendedtheByamShawSchoolofArt.Sheisnowanindependentpuppetdesigner,director,makerandperformerfortheatre,televisionandfilm.Yvonne’sTheatrecreditsincludeTerryPratchett’s‘Nation’,‘Warhorse’and‘HisDarkMaterials’allfortheNationalTheatre;‘RoomontheBroom’,‘TheGruffalo’,‘TheSnowDragon’and‘EmilyBrown’forTallStoriesTheatreCompany;‘Rubbish’and‘Mojo’forTheatreRites;‘TheLionKing’;‘IntheNightGarden–Liveshow’;and‘Macbeth’theOperaforMalmoOpera,Sweden.ShealsodesignedandbuiltallthepuppetelementsfortheNationalTheatre’sJubileeTribute.HercreditsfortelevisionincludetheCBeebiesproduction‘SpacePirates’,forwhichYvonnecreatedallthepuppetelements.YvonneplayedthepartofDibDabintheBAFTAnominated‘DoodleDo’.Shehasalsoworkedon‘MrBloom’sNursery’forCBeebies,‘Mongrels’forBBC3andMattLucas’‘Pompidou’.YvonnehasalsoheldpuppetryworkshopsatvariouslocationsincludingtheNationalTheatre,YoungVicTheatre,andtheCentralSchoolofSpeechandDrama.

DanielleCorbishley–EducationAdvisorDanielleisaperformer,director,lecturerandmagicianwhodevelopsanddirectsperformanceswithBeautifulCrea-turesTheatrealongsidehereducationandfreelancetheatrework.BeautifulCreaturesproducephysicalandvisualtheatresforaudiencesofallagesandhaveenjoyedtouringtheirworkthroughouttheUKandproducinglargescaleparticiaptoryperformancesinBerkshire.BeautifulCreaturescurateaprogrammeofoutdoorartsatCavershamFestivalandprovideopportunitiesforyoungpeopletogainvocationalexperience.DanielleiscurrentlytouringwithPeriplum’s451asCompanyStageManagerandPerformer.PreviouseducationpacksforBlackeyedinclude:MotherCourage,Dracula,NotAboutHeroes,TeechersandTheGreatGatsby.

LizAllum-EducationPackWriterLizisawriterandperformer.Shealsoworksforaneducationcharity,supportingteachersinaddressingissuesofdiversityandinclusion.ShewritesforAltReadingandtheBritishTheatreGuide,andisWriterinResidenceattheCornExchangeinNewbury.

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