PLAY GUIDE
Frankenstein
Adapted for the stage by Adam Montague and Jeremy Kisling
From the novel by Mary Shelley
Presented on the LCT Learning Stage: October 23-30, November 1
Show Sponsor:
418 W. Short Street
Lexington, KY 40507
859.254.4546
www.lctonstage.org
Thank you to our
Major Contributors:
Dear Educator Lexington Children’s Theatre is proud to be producing our 78th season of plays for young people and their families.
As an organization that values the arts and education, we have created this Play Guide for teachers to utilize in
conjunction with seeing a play at LCT.
Our Play Guides are designed to be a valuable tool in two ways: helping you prepare your students for the enriching
performance given by LCT’s performers, as well as serving as an educational tool for extending the production
experience back into your classroom.
We designed each activity to assist in achieving the Kentucky Academic Standards (KAS), including the National
Core Arts Standards for Theatre. Teachers have important voices at LCT, and we rely heavily on your input. If you
have comments or suggestions about our Play Guides, show selections, or any of our programming, your thoughts
are greatly appreciated. Please email Jeremy Kisling, our Associate Artistic Director in Charge of Education, at
[email protected].
Please use the Teacher Response form following a performance. We are thrilled that you rely on LCT to
provide your students a quality theatrical experience, and we hope this resource helps you in your classroom.
LCT’s Education Department
The mission of our education programming
The mission of Lexington Children’s Theatre’s Education Department
is to provide students of all ages with the means to actively
explore the beauty, diversity, complexity, and challenges of the
world around them through the dramatic process. We strive for
young people to develop their own creative voice, their imagination,
and their understanding of drama and its role in society.
Your role in the play
You may wish to have a discussion with your class about your upcoming
LCT experience and their role as audience members. Remind your
students that theatre can only exist with an audience. Your students’
energy and response directly affects the actors onstage. The quality of
the performance depends as much on the audience as it does on each of
the theatre professionals behind the scenes and on stage.
Young audiences should know that watching live theatre is not like
watching more familiar forms of entertainment; they cannot pause or
rewind us like a DVD, there are no commercials for bathroom breaks,
nor can they turn up the volume to hear us if someone else is talking. Your students are encouraged to listen and
watch the play intently, so that they may laugh and cheer for their favorite characters when it is appropriate.
At the end of the play, applause is an opportunity for your students to thank the actors, while the actors are thanking
you for the role you played as an audience.
What to know - before the show!
Play Synopsis
On a sailing trip to the North Pole, Walton and his crew see Old Victor
Frankenstein running on the ice in the distance and bring him aboard
their ship. As the sailors and Walton help Old Victor get comfortable,
Victor tells the story of the scientific pursuits of his youth. As he
commences his tale, the story shifts to his memories. A young Victor
Frankenstein returns home to his father, brother, and friends – Elizabeth
and Henry – and tells them of his plans to continue his scientific studies
of human life transformation at the same university as Henry.
At university, Young Victor’s ambitions are dismissed by most. Despite
the skepticism of his classmates, Victor decides to move forward in his
experiments by enlisting the help of the gravedigger Igor at the local
cemetery. Igor relents to Victor’s request for bodies. With the parts
gathered for his experiment, Victor brings his creation to life. When an
intense storm sends Frankenstein’s Monster into a violent fit, Young
Victor is unable to calm him, panics, and stabs the Monster who knocks
Victor unconscious before fleeing the lab.
With help from Henry and Elizabeth, Victor is nursed back to health
and returns to his father in Geneva where he learns that his younger
brother William has been murdered. Suspecting his monstrous creation, Victor flees into the woods where he
crosses paths with the Monster. The Monster tells Young Victor of the trauma he has experienced and asks for his
creator to make him a companion. Though Victor initially agrees, he ultimately decides not to go through with
the experiment and destroys his second creation. In a rage, the Monster leaves and comes upon Henry in the
woods where he murders him. Young Victor once more returns to Geneva to marry Elizabeth. On the night of their
wedding, the Monster arrives and kills Elizabeth, leaving Victor alone.
Back in the present, Old Victor finishes his story and lays down to rest. Soon after, Walton finds the Monster
hovering over Old Victor whom he has killed. The Monster expresses his remorse over all of his deeds. With no
companion or love, the Monster flees the ship to continue living his life of misery alone.
Poster Dialogue
Before seeing the show, spark a class discussion with open-ended
questions. Place several large pieces of paper or poster board at
different locations around the room. Have students go around the
classroom and write down their own answers to the questions posed
by the poster. Some examples include: What do you know about the
story of Frankenstein? What do you think Frankenstein’s Monster will
look like? What questions do you have before seeing the show? After
students have had a chance to answer each question, bring all posters
to the front of the class. Have students read different answers, leaving
space for discussion.
KAS: W.5.2.b; KAS: W.5.8
What to know - before the show!
Caring for your Creation
In our production of Frankenstein, responsibility for one’s creation is a
major theme. Have your students decorate a plastic egg. Tell them their
job is to keep the egg with them for 24 hours, and to keep a list of all the
activities the egg accompanied. When the students return the following
day, make a list on the board of all the places the egg went. Next, spark
a discussion with the prompt, “Imagine this egg was a living thing.”
What would you have done differently with it?
(EG: did you throw the egg into a gym bag and leave it with your sweaty
socks during practice? Did it remain in your backpack, forgotten all
night?) Have the students write a short essay of at least a paragraph
from the egg’s point of view. How would the egg feel after the way it
was treated? Prep the students with the knowledge of the importance of the theme of taking care of what you’ve
created, and of the responsibility that comes with it.
KAS: SL.5.1.b; KAS: LS.5.3.a
Vocabulary
Victor Frankenstein is driven by his quest to create life. Here are examples of some of the scientific terminology
used in the play. Prepare your class by going over the definitions of each word. Next have the class come up with
a motion that will help them remember what the word means. For a challenge, have students choose 5-8 of the
words to create a small skit telling a scary story.
Alchemy: the medieval forerunner of chemistry, based
on the supposed transformation of matter. It focused
on trying to change base metals into gold or to find a
universal elixir.
Anatomy: the branch of science concerned with the bodily
structure of humans, animals, and other living organisms.
Anemia: a condition marked by not having enough red
blood cells or iron in the blood, resulting in paleness
and tiredness.
Betrothed: a person to whom one is engaged.
Chemistry: the study of the composition, properties,
and reactions of matter, particularly at the level of atoms
and molecules.
Consequences: the result of an action or decision.
Corpse: a dead body.
Crystallized: to form or cause to form crystals.
Geneva: a city on the southwest tip of Switzerland,
near France.
Inquisitive: curious, asking a lot of questions.
Philosophy: the study of the fundamental nature of
knowledge, reality, and existence, especially when
considered as an academic discipline.
Progeny: a person’s descendents.
Proposition: a suggested plan of action.
Re-animate: restore to life or consciousness; revive.
Tormented: to experience terrible mental or physical
suffering.
KAS: TH:Cr3.1.5.a; TH:Pr6.1.4
What to know - before the show!
Build Your Own Monster!
Throughout the years, Frankenstein’s monster has
been re-imagined many ways. Whether green and
lumbering or pale and fragmented, there are many
ways to create a monster. On the form provided,
design your own monster!
TH:Cr.1.1.5.b
What to know - before the show!
Responsibility, Isolation and Revenge:
Themes of Frankenstein
Frankenstein; or, The Modern Prometheus, was first published anonymously in London
in 1818 when the author Mary Shelley was 20 years old. It was published again in France
in 1823. At first, critics dismissed the book, but it caught the imagination of those who
read it. The book was also propelled to more fame through its adaptations for the stage
and then film. For almost 200 years, Frankenstein has had an impact on popular culture.
The notion of creating or animating a dead body has lived on in both science fiction and
horror genres.
To help prepare your students for Lexington Children’s Theatre’s stage adaptation, it is
important to talk about some of the major ideas and themes expressed in Mary Shelley’s
novel. Victor Frankenstein is on a mission to beat nature by bringing a creature back to
life. He believes that death can be cheated, but as soon as the Monster breathes, Victor
instinctively knows he has done something wrong.
Frankenstein’s soul is torn asunder due to his thirst for knowledge and his arrogance. But the question and
main theme of our production is: what is Frankenstein’s responsibility as the creator or parent of his creation?
Frankenstein immediately rejects his creation and leaves it to fend for itself. Should Victor Frankenstein be held
accountable for the care and education of his creation? What happens to a soul or being when it is isolated from
all others?
In the story, the Monster seeks to make friends. He lives in the woods,
cut off from others and every creature he interacts with rejects him. He
tries to befriend the DeLaceys and because of the father’s blindness is
able to speak with him. But the minute he is viewed by the children, he
is violently chased away. The Monster is alone, isolated, and ultimately
becomes depressed. The Monster’s feelings of rage and revenge then
turn toward his creator. Why would someone create a being so hideous,
that not one person can show it compassion or love? The Monster
reacts by hurting Frankenstein’s family. He tells Victor he’ll stop if Victor
creates a companion for him, but Victor cannot bring himself to act
against nature a second time. The Monster is determined to cause as
much misery and pain upon Victor as he feels.
In the end, neither the Monster nor Victor rests in peace. Responsibility,
isolation and revenge are all major themes of Mary Shelley’s Frankenstein.
The importance of these themes and the discussion of them are crucial
for us as we ponder our own humanity. What are our responsibilities
towards others? What happens when we reject and isolate people in our
society? Is revenge the best method to satisfy one’s grief or isolation? We
see these themes and issues play out in our world every day. How do we
learn from the story of Frankenstein and avoid some of same mistakes?
How to grow - after the show!
Alternate Ending
At the end of the play, Victor Frankenstein dies and the monster goes north to live alone, but that’s not the only way
the story could have ended. Briefly discuss the final moments of the play as a class. Divide the class into small groups
of three or four and ask each group to create an alternate ending in the form of a script not to exceed two pages that
they will then perform. Encourage students to write enough parts for everyone in the group, but remind them that
they could also have a director. After at least ten minutes of script-writing, students will have ten minutes of blocking
and rehearsal before they share their scene. Remind students that interesting scenes have movement and levels, such
as sitting, standing, or kneeling.
After all scenes have presented, discuss the following questions:
• What did you appreciate about each scene?
• What did these scenes have in common?
• Did we create happy or sad scenes? Why? What other feelings did our scenes have?
KAS: ELA:W.5.3, TH:Cr2.1.5, TH:Cr3.1.5
Moments Revisited
After seeing the play, use this activity to guide students in their reflection on what they saw. Divide the class
into groups of four or five and ask them to talk with their group about which moment of the play was the most
frightening. Once each group has decided on a moment, have them create a frozen picture of that moment using
their bodies, reminding students that their bodies can represent characters, scenery, props, or anything else they
think is necessary in their picture. Challenge them to use their whole
bodies from their faces to their toes to show what they are and the
emotion they are feeling. When their picture is created, groups should
also come up with a title for the image. Have groups present their
pictures one by one. As each group shares, ask the rest of the class
what characters they think they see, how the students are using their
bodies to show emotion, and what scene they think they are seeing
before you allow the group to verbalize what scene they chose. Repeat
until each group has presented. This activity can then be repeated
with other prompts, such as the saddest part, the happiest part, your
favorite part, etc. After all groups have shared, reflect as a class: what
was challenging about this activity? How was emotion presented and
perceived differently? If any groups chose the same scene, why do
you think that happened? What similarities did you see across all the
pictures?
KAS: ELA:RL.5.3, ELA:RL.5.6 TH:Pr4.1.5, TH:Re7.1.5
How to grow - after the show!
Frankenstein on Trial
Throughout the play both Frankenstein and the monster make questionable decisions, but do they determine
their characters? Briefly discuss whether Frankenstein was right to disown his monster. As a class, make a list
of crimes Frankenstein and the monster commit. Divide the class into four groups and assign each group a
position: one in defense of the monster, one against the monster, one in defense of Frankenstein, and one
against Frankenstein. Have students write down a list of points in support of the position they were given, and
explain that they will use these points to debate. Before inviting both Frankenstein groups to the front of the
room, explain that they may use their list as a guide of what to say, but are allowed to say things that aren’t on
their list. Encourage them to focus on convincing the class that their argument is the strongest. Groups take
turns supporting their argument with at least three reasons; everyone in the group must say something although
students may speak more than once in the time their debate is allotted. Repeat with the monster groups.
After all groups have debated, lead a group discussion on the
following questions:
• Who is in the wrong, Frankenstein or the monster?
• Was Frankenstein right to disown his creature?
• Was the monster right to follow Frankenstein?
• Do good intentions matter if bad things happen?
• Is either character entirely right or wrong? Why?
KAS: ELA:RL.5.6, ELA:RL.5.3, TH:Pr4.1.5
How to grow - after the show!
Inside Someone’s Head
Many of the monster’s actions stem from the way he was treated. On your own, decide between Frankenstein
or the monster and quickly sketch the appropriate face on the outline below, leaving room to write. Outside the
outline, write things that are said to the character you chose. If you remember specific lines from the play, you can
write those down. But also feel free to write down the idea or main message of what you remember characters
saying, such as, “You’re ugly,” “you’re evil,” or “I love you.” Next, write emotions you imagine your character
felt during the play inside the outline; for example, you could write “happy,” “excluded,” or “miserable.” Finally,
draw lines from ideas on the outside that relate to feelings on the inside to the feelings they relate to. Feel free to
make connections to or from something more than once. How many feelings can one idea relate to? Discuss your
findings with a partner or small group.
TH:Cr.1.1.5, ELA.6.CCR.RIT.3
How to grow - after the show!
What to Read Next
Brave New World by Aldous Huxley
Brave New World tells of a dystopian future in which
humans are genetically bred and heavily medicated into
passive service to the World State, a seemingly benevolent
dictatorship.
The Island of Dr. Moreau by H. G. Wells
Dr. Moreau, a former surgeon-turned- vivisectionist, finds
himself on a remote island where he has the freedom
to experiment on the local wildlife and create ghoulish
creatures with manlike intelligence.
Dracula by Bram Stoker
During a business trip to Count Dracula’s castle in
Transylvania, a young Englishman finds himself at the
center of a series of horrifying events.
Robert Louis Stevenson’s The Strange Case of Dr. Jekyll
and Mr. Hyde adapted by C. E. L. Welsh
In this graphic novel adaptation of Stevenson’s classic
story of science fiction and good versus evil, Henry Jekyll
finds himself using his scientific knowledge to try dividing
a person into two beings – one of pure good and one of
pure evil. But when his potion manages to only isolate the
evil half, Jekyll begins to lose control. Can Jekyll undo
what he’s done or will it change things forever?
LCT teaches in YOUR school!
Would you like to see some of these play guide activities modeled in your classroom?
Book a workshop for your class with one of LCT’s teaching artists! In our pre-show workshops, our teaching artists
will engage students in acting skills and themes from the play through drama activities. In our post-show
workshops, students will extend their play-going experience by strengthening their personal connection to the
play and deepening their understanding of the themes and characters.
Call us at 859-254-4546 x233 to book a pre or post-show workshop for your class!
To learn more about Lexington Children’s Theatre and our programming for your school visit:
www.lctonstage.org/for-educators/in-school-experiences/