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Mary Shelley and her sister went to visit her lover's residence in Geneva in 1816. The weather was bad, so Lord Byron, her lover, made a writing competition between Shelley, her sister, his friend, and him to write the best ghost stories and Mary Shelley won the competition with Frankenstein.

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Mary Shelley published the novel, “Frankenstein” on January 1st, 1818. She was inspired by various historical events such as The Enlightenment, Romanticism, and scientific discoveries. The story reflects the society of the early 10th century. Frankenstein dove into topics of human ambition, and the ethical issues with scientific discoveries.

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The setting of the play was in Switzerland in central Europe, where the weather was mostly gloomy and dark during these times. Which help reinforce the dark ambiance of the play.

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In 1816, Mary Shelley stayed at Lord Byron’s villa near Lake Geneva with her future husband, Percy Shelley, her sister and a doctor. They were stuck indoors because of a volcanic eruption that darkened the skies. During this time, they entertained themselves by reading ghost stories. Byron suggested they each write their own supernatural tale, and this challenge led to the creation of Frankenstein.

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Mary had experienced profound loss before writing Frankenstein. Her mother passed away shortly after birth and later experienced the death of her first child in infancy. Themes of life, death, and the consequences of playing with nature reflect her personal grief.

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Mary Shelley was surrounded by Romantic poets, including Percy Shelley and Lord Byron, who wrote about emotion, nature, and the supernatural. Frankenstein also has strong Gothic elements, such as eerie settings, isolation, and horror.

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"Man is born free, and everywhere he is in chains." - Jean-Jacques Rousseau

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"Man is born free, and everywhere he is in chains." - Jean-Jacques Rousseau

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From the very beginning, Creature represents the innocence of the human race. He has no knowledge of modern technologies, and he is uneducated; thus, he often makes tragic mistakes due to his misunderstandings (e,g. When he first met the woman he sexually assaulted her unknowingly). Therefore, the character arc of the Creature embodies Rousseau’s theory as it was his circumstances that made him impure. Society's unwillingness to embrace him then caused the Creature to be hateful due to the absence of empathy. In the end, the chains of prejudice shackled the Creature’s capability of becoming a good person, or proving that he is just as human as everyone else.

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Frankenstein by Nick Dear, supports the nature vs nurture theory

Nature (Genetic Inheritance):

The Creature is born a blank slate, with no inherent malice or understanding of the world.

His physical form is shaped by Victor’s choices (biological and scientific factors).

Reflects the idea that nature may set some basic foundations but is not the only determining factor in behavior.

Nurture (Environmental Influences):

The Creature is abandoned and mistreated by Victor and society.

His isolation and rejection lead him to become violent and vengeful.

The lack of care and empathy from humans helped shaped the Creature’s mindset and actions.

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Mary Shelley was inspired by her own mother's death; her own mother died of infection shortly after giving birth to her, and thus, she implemented this characteristic with her main character, Victor. Although, in the novel, Mary Shelley altered the mother's death slightly, making the cause scarlet fever instead of infection.

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Mary described a vivid dream that inspired her story. She imagined a young scientist who, in his obsession with creating life, succeeds but is horrified by his creation. This vision became the foundation of Frankenstein.

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Marie Shelley was very critical of extreme scientific endeavors and used this as a theme in her story, warning about the dangers associated with them. This specific time period motivated her to incorporate her personal beliefs into the story and set the setting.

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"Frankenstein by Nick Dear" was a stage adaptaption of the novel, "Frankenstein; or The Modern Promethesus. It premiered at the Royal National Threatre of London on Febuarary 5th, 2011. The production was directed by Danny Boyle and had its last run on May 2nd, 2011. The cast included stars like Benedict Cumberbatch as Victor F., Johnny Lee Miller as Frankenstein, and Naomie Harris as Elizabeth.

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Mary Shelley was inspired to write this novel through a combination of a dream she had in lake geneva and recent conversations about galvanism (concept of electricity to stimulate muscle contraction) it was fueled by her personal expirience and worries of motherhood and loss. This opportunity came when Le Byron set up a challenge to write horror stories on rain summer. She wanted to explore philosophical ideas about humanity, social reform and the concept of having a soul. This story was written during a time when philosophy and education became popular and inspired people to create.

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Mary was exploring a major ethical question: Should scientists create life simply because they can?

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The consistent reference to the Garden of Eden exemplifies the parallels between Creature and Adam---someone who was also born pure but made bad decisions that inevitably caused him to be labelled a sinner. For this drama specifically, the temptations of validation and acceptance serve as the apple for the Creature. His increased knowledge of their behaviours and darkness influenced him to turn against the purity he was born with---creating him a sinner.

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"Take him away. I can't look at him. He's monstrous!" - M. Frankenstein to Victor

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"Take him away. I can't look at him. He's monstrous!" - M. Frankenstein to Victor

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There is irony is the fact that M. Frankenstein calls Victor a monster he cannot look at. The creature was an ugly monster for the entire play, however, at the end, Victor is suddenly the monster. The creature, at birth, only craved love from Victor but became a being of hate and vengeance. The point is proven that the hate of society, is the true monster.

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The drama is focused on the psychological point of view from a person who was scrutinized and villainized by society. Therefore, it shows the extent of how humans in society may treat others differently---encapsulating how the victim may react and feel. Essentially, it offers a perspective to the audience about why people choose the decisions they do (e,g. Out of revenge, out of misunderstanding, etc.) whilst putting emphasis on the events/emotions.

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Plays

The Taste Of The Town (presented with ‘The Art of Success’ as ‘Hogarth’s Progress’). Rose Theatre, Kingston, 2018.
Director: Anthony Banks

Dedication Nuffield Theatre, Southampton, 2016.
Director: Samuel Hodges.

The Dark Earth and the Light Sky

Almeida Theatre, London, 2012. Director: Richard Eyre. Evening Standard Award

Nomination Best Play

Frankenstein (adapted from Mary Shelley) National Theatre, London, Olivier, 2011. Director: Danny Boyle

The Promise (adapted from Arbuzov) Tricycle Theatre, London, 2002. Director: Nicolas Kent

The Villains' Opera National Theatre, London, Olivier, 2000. Director: Tim Supple

Summerfolk (adapted from Gorky) National Theatre, London, Olivier, 1999. Director: Trevor Nunn. South Bank Show Theatre Award

Le Bourgeois Gentilhomme (adapted from Molière) National Theatre, London, Lyttleton, 1992. Director: Richard Jones

The Last Days of Don Juan (adapted from Tirso de Molina) Royal Shakespeare Company, Swan Theatre, Stratford Upon Avon, 1990. Director: Danny Boyle

Food of Love (music by David Sawer) Theâtre de Complicité, Almeida Theatre, London, 1988. Director: Nick Phillipou

In the Ruins Old Vic Theatre, Bristol, 1989. Director: Paul Unwin

A Family Affair (adapted from Ostrovsky) Cheek By Jowl, Donmar Theatre, London, 1988. Director: Declan Donnellan. Olivier Award Nomination

Pure Science Royal Shakespeare Company, The Other Place Theatre, Stratford Upon Avon, 1986. Director: Nick Dear

The Art of Success Royal Shakespeare Company, The Other Place Theatre, Stratford Upon Avon, 1986. Director: Adrian Noble. John Whiting Award; Olivier Award Nomination

Temptation Royal Shakespeare Company, Pit Theatre, Barbican, London 1984. Director: Nick Hamm

Screenplays

Agatha Christie's Poirot 6 episodes, ITV1, 2003-2013

Inside the Mind of Leonardo Sky Arts, 2013. Director: Julian Jones. Royal Television Society Nomination - Arts Programme

Eroica BBC2, 2003. Director: Simon Cellan Jones. Prix Italia

Byron BBC2, 2003. Director: Julian Farino

Cinderella Channel 4, 1999. Director: Beeban Kidron.

The Turn of the Screw ITV, 1999. Director: Ben Bolt.

The Gambler Film Four, 1997. Director: Karoly Makk. Best European Film, Brussels

Persuasion BBC2, 1995. Director Roger Michell. BAFTA Award - Best Single Drama

Radio Plays

The Dark Earth and the Light Sky BBC Radio 4, 2017. Director: Celia De Wolff

The News from Home BBC Radio 3, 2016. Director: Celia De Wolff

Secrets of the Small Hours BBC Radio 4, 2014. Director: Celia De Wolff

The Miracle of Reason BBC Radio 3, 2005. Director: Ned Chaillet

Swansong (music by David Sawer) BBC Radio 3, 1989. Sony Award

Free BBC Radio 4, 1986. Director: Richard Wortley

Jonathan Wild (adapted from Henry Fielding) BBC Radio 4, 1985. Director: Richard Wortley

Pure Science BBC Radio 3, 1982. Director: Richard Wortley

Matter Permitted BBC Radio 3, 1980. Director: Richard Wortley. Society of Authors Award

Opera Libretti

The Palace in the Sky (music by Jonathan Dove) English National Opera, Hackney Empire, London, 2000. Director: Jo Davies

Siren Song (music by Jonathan Dove) Almeida Opera Festival, London, 1994. Director: Ian McDiarmid

A Family Affair (music by Julian Grant) Almeida Opera Festival, London, 1993. Director: Martin Duncan

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Mary Shelley's father was a famous author, and thus, thought it was important for his children to receive good education. As a result, Mary Shelley grew up highly educated alongside her siblings.

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During 1818 society was not very accepting of things that were different from them. Since new ideas of society were starting to form people were conflicted with how things were and how they should have been. Tensions were high in society because the government was unsteady and facing a lot of criticisms form philosopher of the enlightened age.

The play was also set during the industrial age, with even more change happening in society

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Mary Shelley's mother died 11 days after she was born, so growing up, Mary was very close to her father. Her father was an author as well and he valued Shelley's education. During her childhood, her step-mother disliked how close she was to her father which caused her father to favour his other children over her. Mary Shelley grew up around various political figures and authors, thanks to her father's connections.

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De Lacey tells the creature about the original sin, where there are two perspectives that people have. One that says humans are born evil and they need God to save them. The other that says humans are born pure, but their environment causes them to be corrupted.

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Viktor represents human-kind’s desire for innovation. Unfortunately though, most of society is greedy, often exhausting the earth of its materials. In modern day, this can be seen through the technological advancements that have placed a demand on the water systems (e,g. AI). Thus, leaving nothing left for future generations. However, for this story specifically, it can be seen through Viktor’s lack of sympathy for the people around him. Rather than placing emphasis on his fiance, or taking time to mourn his brother, he focuses more time on his work. ALthough it may not come off as greed, it is evident that he is blinded by his own ambitions (e,g. To kill the Creature) and pride (e,g. Creating a Creature and boasting about creating life.) But, with the lack of care to his creations, it metaphorically represents how society does not recognize the impact of their actions to those who have been hurt (e,g. Resources, animals in testing, etc.)---only wanting more instead.

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Mary Shelley’s mother, Mary Wollstonecraft, was an important influence on her. Wollstonecraft was a pioneering feminist thinker who wrote A Vindication of the Rights of Woman. After giving birth to Mary in 1797, Wollstonecraft died shortly after due to complications. Mary grew up without her, and this sense of loss and the experience of mourning were important to the development of Frankenstein.

Mary Shelley’s husband, the poet Percy Bysshe Shelley, was a profound influence on her writing. Percy encouraged her to write and often critiqued her work. In fact, he came up with the challenge that led to the creation of Frankenstein during the summer of 1816 by Lake Geneva. Percy was a Romantic poet who was interested in the boundaries between humanity and nature, the effects of power, and the pursuit of knowledge. His ideas about the sublime and his own rebelliousness can be traced in Victor Frankenstein’s character.

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The Royal National Theatre chose to cast two actors to alternate the roles of Victor and the Creature. They changed or swapped roles each night they would perform to emphasize the connection between the two characters, even off stage. In this, the two actors understood both characters and their bond in the play.

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The author of the original novel Frankenstein was written by Mary Shelley, and it was adapted into many theatrical productions and films. The first theatre adaptation of Frankenstein was premiered in 1823, 5 years after the novel was released. The production was called "Presumption; or, The Fate of Frankenstein" written by Richard Brinsley Peake and it was premiered at the English Opera House. The first Frankenstein movie was released in cinemas in 1910, which was a silent film produced by Thomas Edison.

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Frankenstein can be examined in a feminist lens by discussing the influence of Victor’s toxic masculinity on the Creature. The Creature first meets Victor, and that is his one introduction to humanity. He was created completely devoid from feminine intervention, and this is something that Mary Shelley implies results in a destructive worldview. Victor has a skewed perception of gender, and his view of the role of women in society reflects that of many in his time. He believes that women’s main goal is to please and be beautiful for men. He tells the Creature that “a Bride should be beautiful. A bride should have pretty eyes, and shining hair. She should not be hideous, She should be as lovely as possible.” He is extremely vain and superficial when it comes to women and love. This proves to the Creature that women are to be used, and can be seen as foreshadowing to his treatment of Elizabeth in the end.

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It also can be interpreted that because the Creature was raised by only a man, that is why he became so murderous and does not care about others’ lives. It is a comment on the nature of men, that they are aggressive and forever in the pursuit of their own wants, and doing anything to achieve them. If one is raised by only a man, these are the qualities they will inherit, and it is interesting that because of this, the Creature is considered to be a monster.

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The theatrical theme of tragedy is represented in both Victor Frankenstein and the Creature. Through both his knowledge and separation from those he loves, Victor is greatly punished. His reckless violation of the flow of life combined with his lack of empathy and ability to take responsibility, Victor learns that some things that can be done should not be done. His lack of connection and isolation from not only the creature, but also society ultimately moves him to a tragic end.

The Creature, benevolent in his journey of learning about the world around him, is abused and taught to seek revenge. He longs to love and is deceived, isolation from society through abandonment and rejection teaches the Creature results in a shift of character who acts on experience. He learns that that he was created to depend on none, and relate to none, constructing a moral vacuum, being his greatest and most tragic flaw.

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Nick Dear expressed in an interview that he wrote this in order to display the numerous ideas shown throughout the original novel. It was an attempt to make Dramas more interesting in a time when movies began to gain popularity. He stated that there were multiple ideas within Frankenstein that were never expressed or explored to their full potential in any pf the movies he’d seen of it.