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Frankenstein – Playing with Fire by BARBARA FIELD (From the Novel by MARY SHELLEY) Directed by ROB MELROSE

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Frankenstein – Playing with Fire by BARBARA FIELD (From the Novel by MARY SHELLEY) Directed by ROB MELROSE Wurtele Thrust Stage / Sept 15 – Oct 27, 2018 Frankenstein – Playing with Fire by BARBARA FIELD (from the novel by MARY SHELLEY) directed by ROB MELROSE PLAY GUIDE Inside THE PLAY Synopsis, Setting and Characters • 4 Initial Responses to Frankenstein; or, The Modern Prometheus • 5 The Origin of Frankenstein – Playing with Fire • 6 THE AUTHORS About Novelist Mary Shelley • 7 Mary Shelley: In Her Own Words • 8 About Playwright Barbara Field • 10 CULTURAL CONTEXT People, Places and Things in the Play • 11 BUILDING THE PRODUCTION From the Director and Creative Team • 13 ADDITIONAL INFORMATION For Further Reading and Understanding • 15 Play guides are made possible by Guthrie Theater Play Guide Copyright 2018 DRAMATURG Carla Steen GRAPHIC DESIGNER Akemi Graves CONTRIBUTOR Carla Steen Guthrie Theater, 818 South 2nd Street, Minneapolis, MN 55415 All rights reserved. With the exception of classroom use by teachers and individual personal use, no part of this Play Guide ADMINISTRATION 612.225.6000 may be reproduced in any form or by any means, electronic BOX OFFICE 612.377.2224 or 1.877.44.STAGE (toll-free) or mechanical, including photocopying or recording, or by an information storage and retrieval system, without permission in guthrietheater.org • Joseph Haj, artistic director writing from the publishers. Some materials published herein are written especially for our Guide. Others are reprinted by permission of their publishers. The Guthrie Theater receives support from the National The Guthrie creates transformative theater experiences that ignite the imagination, Endowment for the Arts. This activity is made possible in part by the Minnesota State Arts Board, through an appropriation stir the heart, open the mind and build community through the illumination of our by the Minnesota State Legislature. The Minnesota State Arts Board received additional funds to support this activity from common humanity. the National Endowment for the Arts. 2 \ GUTHRIE THEATER PHOTO: JASON ROJAS AND RYAN COLBERT IN FRANKENSTEIN – PLAYING WITH FIRE (DAN NORMAN) “If an astonishing power were suddenly placed in your hands, what would you do with it?” – Victor to Krempe in Frankenstein – Playing with Fire About This Guide This play guide is designed to fuel on a play before you see it onstage. your curiosity and deepen your Or perhaps you’re a fellow theater DIG DEEPER understanding of a show’s history, company doing research for an If you are a theater meaning and cultural relevance upcoming production. We’re glad company and would like so you can make the most of your you found your way here, and we more information about theatergoing experience. You might encourage you to dig in and mine the this production, contact be reading this because you fell in depths of this extraordinary story. Dramaturg Carla Steen at love with a show you saw at the [email protected]. Guthrie. Maybe you want to read up GUTHRIE THEATER \ 3 THE PLAY PHOTO: ELIJAH ALEXANDER, JASON ROJAS, ZACHARY FINE AND RYAN COLBERT IN FRANKENSTEIN – PLAYING WITH FIRE (DAN NORMAN) SETTING The North Pole and various Synopsis stops in a voyage of memory. It is the summer solstice — At the North Pole during the summer solstice, Frankenstein and the last day or the first day, his Creature meet after a years-long chase. Frankenstein wants to depending on the point avenge the destruction of his family; the Creature wants to avenge of view. his abandonment. Their temporary and wary truce takes the form of a question-and-answer catechism that encompasses topics people have CHARACTERS wrestled with since God created Adam. As Frankenstein marvels at the achievements of his creation and the Creature demands answers from Frankenstein, a scientist his creator, memories from their disparate pasts are conjured Creature, Frankenstein’s and entwined. creation Victor, a memory of A young, ambitious Victor pursues knowledge and pushes the Frankenstein as a young man boundaries of science, ultimately creating and giving life to his Adam, whom he immediately rejects as a monster. Adam doesn’t know what Adam, a memory of the newly it means to be a monster, but his painful education among humanity made Creature soon teaches him. Even though he is an outcast, he has an unbreakable Elizabeth, Victor’s betrothed connection to Victor that will forever test the bounds of love, Krempe, Victor’s professor responsibility, life and death. at Ingolstadt Old Man, a memory from the Creature’s past 4 \ GUTHRIE THEATER THE PLAY Initial Responses to Frankenstein; or, The Modern Prometheus For the past two centuries, Mary dubiously) give him a name among it were necessary that the language Shelley’s story of a scientist and those whose writings amuse or should be as extravagant as the his creature has become deeply amend their fellow creatures. fiction. The ideas of the author are entrenched in our collective always clearly as well as forcibly consciousness. So it may be John Wilson Crocker, Quarterly Review, expressed; and his descriptions difficult to remember that there January 1818 of landscape have in them the was a time when this story was choice requisites of truth, freshness, brand new and people were There never was a wilder story precision, and beauty. The self- reacting to it for the first time. imagined, yet, like most of the education of the monster, considering When the novel was published fictions of this age, it has an air the slender opportunities of acquiring in 1818, no author was listed, of reality attached to it, by being knowledge that he possessed, we though its dedication to writer connected with the favourite have already noticed as improbable William Godwin (Shelley’s father) projects and passions of the and overstrained. … led to wild speculation about its times. … We hope yet to have more authorship. Some of the early productions, both from this author We should also be disposed, in reviews of the novel are excerpted and his great model, Mr. Godwin; support of the principles with which below, providing a glimpse at how but they would make a great we set out, to question whether the the world has changed even as improvement in their writings, if they monster, how tall, agile, and strong Shelley’s novel remains a constant. would rather study the established however, could have perpetrated order of nature as it appears, both so much mischief undiscovered; or [After summarizing the novel’s plot] in the world of matter and of mind, passed through so many countries Our readers will guess from this than continue to revolt our feelings without being secured, either on summary, what a tissue of horrible by hazardous innovations in either of account of his crimes, or for the benefit and disgusting absurdity this work these departments. of some such speculator such as Mr. presents. It is piously dedicated to Polito, who would have been happy Mr. Godwin and is written in the Anonymous, Edinburgh Magazine, March 1818 to add to his museum so curious a spirit of his school. The dreams of specimen of natural history. … insanity are embodied in the strong An uncouth story, in the taste of and striking language of the insane, the German novelists, trending in Upon the whole, the works impresses and the author, notwithstanding some degree on delicacy, setting us with a high idea of the author’s the rationality of his preface, often probability at defiance, and leading original genius and happy power of leaves us in doubt whether he is to no conclusion either moral or expression. not as mad as his hero. … philosophical. In some passages, the writer appears to favour the Sir Walter Scott, “Remarks on Frankenstein; But when we have thus admitted doctrines of materialism: but a or, The Modern Prometheus,” Blackwood’s that Frankenstein has passages serious examination is scarcely Edinburgh Magazine, March 1818 which appall the mind and make necessary for so excentric [sic] a the flesh creep, we have given it vagary of the imagination as this This Tale is evidently the production all the praise (if praise it can be tale presents. of no ordinary Writer; and, though called) which we dare to bestow. we are shocked at the idea of Our taste and our judgment alike Anonymous, The Monthly Review, April 1818 the event on which the fiction revolt at this kind of writing, and is founded, many parts of it are the greater the ability with which It is no slight merit in our eyes that strikingly good, and the description it may be executed the worse the tale, though wild in incident, is of the scenery is excellent. it is. … The author has powers, written in plain and forcible English, both of conception and language, without exhibiting that mixture of Anonymous, Gentleman’s Magazine, which employed in a happier hyperbolical Germanisms with which April 1818 direction might, perhaps (we speak tales of wonder are usually told, as if GUTHRIE THEATER \ 5 THE PLAY The Origin of Frankenstein – Playing with Fire PHOTO: PETER SYVERTSEN, CURZON DOBELL AND JOHN CARROLL LYNCH IN THE 1988 PRODUCTION OF FRANKENSTEIN – PLAYING WITH FIRE (MICHAL DANIEL/JOE GIANNETTI) Garland Wright asked me to I started by asking the questions Likewise, there are two scientists: prepare an adaptation of Mary that I (as the Creature) wanted to Frankenstein, the old man, and Shelley’s Frankenstein for a national ask my creator. “Why did you make Victor, the student who creates tour that would terminate with a me?” “Since you made me, why Adam. Frankenstein has arrived at run on the Guthrie’s mainstage. did you not love me?” “If you could the top of the world and the end After rereading the novel, I was not love me, why didn’t you make of his life; Victor is his remembered elated and dismayed: The ideas practical use of me for the good of vision of himself at the beginning were challenging and important, humanity?” of his journey.
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