Philip Pullman's Frankenstein has a modest but significant performance history. It was first published in 1990 and later revised for the Oxford Playscripts series. In 2016, a notable production was staged by the Young Everyman Playhouse in Liverpool, in association with the University of Liverpool, as part of the city's literary festival. This performance brought Pullman's text directly to a theatrical audience, directed by Ellie Hurt.
Pullman's script shifts locations rapidly. Use simple lighting cues and versatile props (like a central table that serves as a lab bench, a bed, or a grave) rather than realistic sets.
This adaptation is specifically designed to help students explore the 19th-century context and the gothic genre, serving as a stepping stone to more advanced studies, such as GCSE English Literature. philip pullman frankenstein play script pdf
Victor initially agrees to build a second creature but destroys his work halfway through, terrified of creating a race of monsters. Enraged by this second betrayal, the Monster vows to be with Victor on his wedding night. True to its word, the Monster murders Elizabeth. The play culminates in a desperate, endless chase across the frozen Arctic, where creator and creation become permanently bound together in mutual destruction. Key Themes for Analysis and Staging 1. The Burden of Responsibility
The playscript is so effective that it has spawned a vast array of secondary resources. You can find complete schemes of work (SOW), full-lesson PowerPoints, worksheets, and even storyboard tasks all based directly on this specific script. One teacher explains their aim is "to introduce them to the features of play script, analysing character and theme, and Gothic Horror conventions". Philip Pullman's Frankenstein has a modest but significant
Legal digital versions can be purchased through major educational e-book providers for integration into school e-readers. Classroom Activities and Drama Exercises
The key details are:
(standing, naked and unashamed) Then call me nothing. Call me “It.” Call me “the thing on the table.” But when you turn away, I will still be here. And I will still have learned the one word you never wrote in your journal.
The script moves quickly. Ensuring smooth transitions between scenes is vital to maintaining the tension and gothic suspense. This performance brought Pullman's text directly to a