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On the first day of this class, we were asked to introduce ourselves with a game. Which is to find the things that you and your group members have the same and also your own unique thing.

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We have some activities such as putting the following sentences in to correct order and identifying the sentences that don't support the thesis statements. We tried to write topic sentences for paragraphs in the exercise.

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For these two days, we went through academic reading and critical thinking. There are some basic reading skills such as scanning, skimming, and determining the meaning of unfamiliar words. We were given a text and asked to find a word quickly and know it was in which line. Sometimes we are able to guess what is the meaning of a word we don't know according to the sentence. Also, we learned about what is fact and what is opinion.

We learned about thesis statements and topic sentences. The last sentence of an introduction must be a thesis statement(Topic+Controlling Idea). Then we learned the structure of the essay. The essay consists of an introduction, body paragraphs(2-3 paragraphs), and a conclusion.

The introduction needs a hook, a hook is something to grab the reader's interest and is relevant to the essay's topic.

Body paragraphs need us to write evidence to support our thesis statement. This is where our essays develop. The first sentence of each body paragraph should clearly support some parts of the thesis statement.

The first sentence in a conclusion is normally a restatement of the thesis. We are not allowed to add any new information in a conclusion but just remind the reader of our take on the topic and why is it important.

There are a few types of common errors in academic writing. Over-generalization, conversational language, no references, poor logic, grammar errors, and more.

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Introduction of Frankenstein 2011 theatre play

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Introduction of Frankenstein 2011 theatre play

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Frankenstein is a stage adaptation by Nick Dear of Mary Shelley's 1818 novel Frankenstein; or, The Modern Prometheus.

Its world premiere was at the Royal National Theatre on 5 February 2011, where it officially opened on 22 February. This production was directed by Danny Boyle with a cast including Benedict Cumberbatch and Jonny Lee Miller, with the two lead actors alternating the roles of Victor Frankenstein and the Creature. Frankenstein ended its run on 2 May 2011.

On 17 March and 24 March 2011, the production was broadcast to cinemas around the world as a part of the National Theatre Live programme.

The National Theatre's production of Frankenstein returned to cinema screens worldwide for a limited season in June, July and December 2012, as well as for encore screenings in October and November 2013. A third encore screening was announced, beginning 25 October 2014. It was seen for around 800,000 people on cinemas.

Another encore screening was made across the United States on 22 and 29 October 2018 in honour of the novel's 200th anniversary, so viewers could see both actors play both roles.

The films were made available as part of the National Theatre's NT at Home series for a week from 30 April 2020, with Benedict Cumberbatch as the creature available starting from 30 April, and Jonny Lee Miller as the creature starting from 1 May.

Victor Frankenstein creates a monster from human corpses. Once the Creature is brought to life, however, Victor is appalled by his creation's deformed appearance and flees in terror. The Creature wanders through the streets of Ingolstadt, lost and confused. Meanwhile, Gretel, a prostitute, is being assaulted in an alleyway and calls for help. The Creature frightens off her attacker, but Gretel recoils from her saviour, and a mob of villagers chase the Creature away. The next morning, the Creature sees the dawn for the first time and finds Victor's journal. He is then attacked by two beggars when he tries to take their food.

The Creature hides in an old cottage which is inhabited by a married couple, Felix and Agatha, and Felix's elderly, blind father, De Lacey. The Creature comes to care for them and brings them food in secret. De Lacey finds and befriends the Creature and, over the course of a year, teaches him to speak, read and write. The Creature reads Victor's journal and learns about his creator. De Lacey also teaches the Creature about love, and the Creature dreams of having a female partner. One day, Felix and Agatha come home and find the Creature; much as the Creature had feared, they are repulsed by him and drive him out. Enraged, the Creature sets fire to the cottage, killing the entire family. He swears revenge on Victor for bringing him into a world that hates him.

By Lake Geneva, Elizabeth Lavenz, Victor's fiancée, is playing hide and seek with William, Victor's younger brother, and her maids. They all leave William blindfolded while they go off to hide. The Creature tries to befriend William, and tells him he is looking for a man called Frankenstein. William says that's his surname and Victor is his brother. William sees the Creature's face and tries to run, but the Creature catches him and carries him off. That night Victor and his father, Monsieur Frankenstein, find William's dead body, with pages from Victor's journal. Victor realizes that the Creature killed his brother, and resolves to destroy him.

Victor tracks the Creature to the Alps and confronts him. The Creature asks Victor to create a female mate for him, promising in return to leave humanity alone; the Creature also threatens to destroy Victor's life if he refuses. Left with little choice and intrigued by the challenge, Victor agrees. He moves to Scotland and, in a matter of months, creates a "bride" for the Creature. When the Creature comes to claim her, however, Victor refuses to give her to him, aghast at the possibility of their creating a race of monsters. He destroys the female and the Creature disappears into the night, swearing revenge.

Victor returns to Geneva and marries Elizabeth. On their wedding night, he confesses what he has done, and promises that he will put an end to the situation that night. He leaves the room intent on destroying the Creature, but the Creature appears in their bridal suite and rapes and murders Elizabeth. Victor bursts into the room with a gun, but can't bring himself to shoot, and the Creature escapes. Victor attempts to bring Elizabeth back to life, but his father stops him, ordering him to be taken away.

Victor pursues the Creature to the Arctic Circle, where he collapses, frostbitten and exhausted. The Creature comes to see what has happened to Victor and, thinking he has died, begs his forgiveness. He gives Victor seal meat and pours wine into his mouth to revive him, and tells his creator he loves him. Victor admits he does not know how to love, and insists in continuing his hate-driven pursuit of the Creature. Both resigned to their fate, the Creature leads Victor on into the fog.

The story is told from the Creature's perspective rather than from Victor's. Because of this, the audience witnesses events such as his relationship with De Lacey firsthand rather than in backstory.

The frame story involving Captain Robert Walton is dispensed with entirely, as well as much of Victor Frankenstein's backstory. The play opens directly with the Creature's "birth".

The Creature is vegetarian in the novel but eats rabbit in a scene in the play.

Mr. De Lacey teaches the Creature to read and speak; in the novel the Creature reads on his own and learns to speak just by observing the family.

The Creature kills the De Lacey family in revenge for their rejection of him, which he does not in the novel.

Elizabeth Lavenza is Victor's cousin rather than his adopted sister. (They are cousins in the original release of the novel but changed to adopted siblings in the 1831 rewrite. In the play, they remain cousins.)

The Creature doesn't leave for Geneva until a full year after his birth, rather than four months in the novel.

The character of Justine, William's nurse, is cut, and William's murder is never solved. The character of Henry Clerval is also cut.

Monsieur Frankenstein personally brings Victor home from Scotland, and Victor is never imprisoned due to the absence of Clerval from the story.

The Creature's mate is partially animated and is able to walk in a trance-like state before she is destroyed; in the novel she is not animated at all.

The Creature rapes Elizabeth before killing her in the play, this does not happen in the novel.

Victor Frankenstein and Elizabeth stay in Geneva on their wedding night, rather than Villa Lavenza by Lake Como in the novel.

Felix and Agatha are a married couple in the play, whereas they are siblings in the novel. The character of Safie has been cut.

Victor dies at the end of the novel; in the play he does not.

Benedict Cumberbatch - Victor Frankenstein/The Creature

Jonny Lee Miller - The Creature/Victor Frankenstein

Ella Smith - Gretel, a prostitute

John Killoran - Gustav, a beggar

Steven Elliott - Klaus, a beggar

Karl Johnson - De Lacey, a blind scholar

Daniel Millar - Felix, his son

Lizzie Winkler - Agatha, wife of Felix

Andreea Padurariu - The Female Creature

Haydon Downing/William Nye/Jared Richard - William Frankenstein, Victor's younger brother

George Harris - M Frankenstein, Victor's father

Naomie Harris - Elizabeth Lavenza, Victor's fiancée

Daniel Ings - Servant 1

Martin Chamberlain - Servant 2

Ella Smith - Clarice, a maid

John Stahl - Ewan, a Scottish crofter

Mark Armstrong - Rab, his nephew

Josie Daxter - Ensemble

Danny Boyle - Director

Mark Tildesley - Scenic Design

Suttirat Anne Larlarb - Costume Design

Bruno Poet - Lighting Design

Ed Clarke, Underworld - Sound Design

Toby Sedgwick - Director of Movement

Kate Waters - Fight Director

Benedict Cumberbatch and Jonny Lee Miller shared both the Laurence Olivier Award and London Evening Standard Theatre Award for Best Actor in a Leading Role in a Play for their respective performances. Cumberbatch also won the Critics' Circle Theatre Awards' Best Performance by an Actor in a Leading Role in a Play. The play also won the Olivier Award for Best Lighting for the filament light bulb installation designed by Bruno Poet.

Electronica duo Underworld provided the score for the play. They had previously worked on the score for Boyle's film . Underworld released the soundtrack for Frankenstein in both digital and CD form through their website on 17 March 2011.

Track listing

1. "Overture" - 17:11

2. "Incubator" - 1:47

3. "Industrial Revolution" - 3:51

4. "Dawn of Eden" - 3:28

5. "Beggars Attack and Creature Alone" - 0:58

6. "De Lacey Cottage Guitar" - 0:44

7. "Not a King (Snow)" - 1:55

8. "Fairy Folk and Nightingale" - 2:28

9. "Female Creature Dream" - 3:45

10. "Creature Banished and Cottagers Burn" - 2:47

11. "Hide and Seek, Body in a Boat" - 1:43

12. "The Alps" - 1:43

13. "Frankenstein House" - 0:42

14. "Sea Shanty and Croft" - 4:07

15. "Bride Creature.Walk" - 1:10

16. "Bride Creature.Death" - 1:17

17. "Wedding Song and Bedroom" - 2:34

18. "Arctic Wastes" - 6:18

19. "Come Scientist Destroy" - 2:08

Following the National Theatre success, Nick Dear's Frankenstein has been staged in various theaters throughout the world, including the Sydney Opera House in 2013, the Denver Center for the Performing Arts in 2016, and a French-language production in Quebec City. It has also been licensed for high school performance. In 2016, Fossil Ridge High School in Fort Collins, Colorado, became the first high school to perform the play.[citation needed ] In 2021 The Court Theatre in Christchurch, New Zealand also put on Frankenstein which opened before their August lockdown and then closed and reopened again in September. This production featured an ensemble of third year Performing Arts Students at the National Academy of Singing and Dramatic Art (NASDA)

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Frankenstein is a stage adaptation by Nick Dear of Mary Shelley's 1818 novel Frankenstein; or, The Modern Prometheus . Its world premiere was at the Royal National Theatre on 5 February 2011, where it officially opened on 22 February.

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Frankenstein 1818 edition : Mary Shelley : Free Download, Borrow, and Streaming : Internet Archive

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The 1818 edition of Frankenstein. This version is based on a digitisation by Distributed Proofreaders cross checked against an existing Project Gutenberg text...

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Urban Cottage Industries has provided theatre lighting to a range of projects, but probably none with the impact of that supplied for Danny Boyle's 2011 stage adaptation of Frankenstein. The production, at the National Theatre, was a huge success - rapidly selling out its three month run and breathing new life into the classic story.

Urban Cottage Industries worked with the acclaimed lighting designer Bruno Poet to help create the incredible lighting installation featuring over 3,000 filament light bulbs pulsating and coalescing as the Creature came to life.

Mary Shelley's gothic novel has generated many works - films, plays and television etc - so producing a truly stand-out stage version is a huge achievement. The National's Frankenstein starred Benedict Cumberbatch and Jonny Lee Miller, famously alternating the roles of Victor Frankenstein and the Creature. Bruno's lighting design knitted perfectly with the themes which underpin Frankenstein's enduring relevance and popularity - the wonder at, and fear of, scientific and technological progress. The lighting perfectly encapsulated the dawn of the industrial age and was fundamental to the narrative. Bruno achieved the amazing lighting display by dividing the ceiling area of the National Theatre into lighting squares and using a separate dimmer circuit for each. Filament bulbs, lamp holders and fabric cable were used for each pendant light in the arrangement, along with dozens of shades and lamp cages. The reviews of Frankenstein were excellent, with the theatre lighting singled out for special praise:

'A candle-filled canopy overhangs the auditorium and blazes into light to evoke Victor's galvanizing experiments.' Michael Billington, The Guardian, 24 February 2011.

'This birth scene is an extraordinary challenge for an actor: 15 minutes of fully naked jerks and rictus-mouthed pangs, under the harsh pulses of light that thrum through the brilliant rack of bulbs and alembics that roof the auditorium.' Time Out, 23 February 2011.

'Yet somehow Boyle does just that, constantly creating shocks, spectacular coups de theatre - the lighting effects alone are worth the price of admission - and scenes that tug at the heart.' Charles Spencer Daily Telegraph, 23 February 2011.

Bruno went on to win the 2012 Olivier Award for Best Lighting Design. He generously agreed to be interviewed for a blog post - read the interview here. Images courtesy of and copyright Bruno Poet

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Theatre Lighting | Factorylux for Frankenstein at the National

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Urban Cottage Industries has provided theatre lighting to a range of projects, but probably none with the impact of that supplied for Danny Boyle's 2011 stage adaptation of Frankenstein. The production, at the National Theatre, was a huge success - rapidly selling out its three month run and breathing new life into the classic story.

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We learned about referencing skills. We can reference some of these sources for example academic books, newspaper articles, websites, online articles, and so on. The important thing is no plagiarism! We must give credit to the author if we refer to their work. And then we learned in-text citations(direct quotes, indirect quotes, author prominent, and information prominent).

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We have learned about critical thinking. There are three skills to think critically. We have to know how to differentiate facts from opinions and how to make inferences and logical conclusions.

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We had an activity in class which was determined body paragraphs and conclusion together with our partner.

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We learned how to make an effective presentation slides. There are a few platforms that are encouraged to use such as Microsoft Office PowerPoint, Microsoft Office Sway, Google Slides, Canva, and Slideshare. Also, we learned how to put our text in order, how to decorate our slides with icons and images, and what mistakes we should avoid making when we are doing our slides For example, it's not good to put a lot of text in our slides. Because people can read faster than the speaker speaks. So we say what we didn't put in the slides and what we put in the slides are only the main points of our topic.

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We watched Frankenstein with Benedict Cumberbatch as the creature together and for this week we worked on our critical analysis. We got feedback from Dr Nicholas for our essays.

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We learned public speaking skills so that we can prepare better for Assessment 2 which is a presentation for our critical analysis. To be a good speaker we should have more eye contact with the audience and messages will be delivered more effectively. Voice is also very important in public speaking. We will lose the listener's attention if we speak with a gentle voice throughout the entire presentation. We need to know when we should increase our volume of speaking and when to use punctuation when we tell the audience those ideas in sentences.

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We worked on our presentations with our partners for this week and consultation was made with Ms Neera.

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We presented our slides about Frankenstein with Benedict Cumberbatch with the creature.

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For these two weeks, we worked on our eportfolio which is the final assessment for this subject. By 6/12/2023 Wednesday I have a consultation with Ms Neera. She helped me categorize my posts in Padlet.

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Benedict Cumberbatch, as the Creature, and Jonny Lee Miller, as Victor, in National Theatre Live's production of 'Frankenstein.'

Gone is the black and gray, ill-fitting suit, neck bolts, and lumbering walk in platform shoes. This time Victor Frankenstein's iconic creature has been taken back to his origins in author Mary Shelley's nightmare turned into one of the first and most famous examples of horror and science fiction. The National Theatre produced an epic version of "Frankenstein" penned by Nick Dear and directed on a grand scale by award-winning director Danny Boyle.

Let me say this right off the bat: 'Frankenstein' is a must-see at-home theatre. Full stop.

Doyle, Dear - and indeed Mary Shelley - along with the designers and acting company led by Benedict Cumberbatch and Jonny Lee Miller created a magnificent piece of theatre that must have been a wonder to behold on the massive Olivier Stage in London. How lucky are we that the National decided to film this production as part of their stage-to-cinema National Theatre Live series. Now the theatre, in response to COVID-19 isolation and the closing of stages all over the world, is offering this "Frankenstein" for the 21st century for free via YouTube for a limited time.

Let me say this right off the bat: "Frankenstein" is a must-see at-home theatre. Full stop.

As visceral and raw as it is literate and tinged with poetic value, "Frankenstein" is the kind of theatre one does not expect to see in a world influenced by CGI-infused films and Disney's seemingly 80 percent takeover of all entertainment. Boyle's production of Dear's compelling text is visually arresting, physically wondrous, and is acted with skill and passion by a first-class company of players - one of the hallmarks of the National Theatre.

In an ingenious bit of casting, Boyle brought on two powerhouses to share the two main roles. Throughout the run of the production in 2011, Benedict Cumberbatch alternated with Jonny Lee Miller in the roles of the Creature and Victor Frankenstein. If you dial up this production in either version, it is difficult to imagine such a casting coup; but, through the magic of YouTube, you can toggle back and forth between the productions to prove it was done and done brilliantly. I decided to focus on the Cumberbatch as Creature and Miller as Victor-version. In other words, the British "Sherlock" and the American "Elementary" star go head to head as monster and creator. Or is it creation and monster? If you only know these actors from their film and television appearances, please take advantage of this fleeting but prime opportunity to see two master stage actors at work.

Cumberbatch, by my way of looking at it, is physically ideal for the creature in this iteration of the classic horror tale. Tall and gangly naturally, Cumberbatch brings the newborn awkwardness to his birth effortlessly. Watching his awakening in the play's opening moments, one is immediately sympathetic to his tender state. As he explores his new world, there is childlike innocence, which is followed by moments of tenderness and rage at the true nature of his condition. He was born to play this role and has a field day with it.

Miller brings a light madness and intensity to Victor Frankenstein, amazed yet repulsed by his creation, at odds with what to do now that his child has actually been born. Their relationship is further complicated when Victor introduces the bride he makes after the creature begs for him to provide her for him. Miller offers a grand contrast to Cumberbatch and shows layers of complexity many other versions of this story have skipped over.
It should be noted the double-casting was not overlooked at the time of the London theatre awards that year. In 2012, Miller and Cumberbatch earned a shared Olivier Award for best actor for their dual turns in "Frankenstein."

Playwright Dear takes the bones of Shelley's novel and adds his own touches to the story which work hand-in-hand with Boyle's earthy, fantastical physical production. Along with the gothic horror and disturbing imagery of Victor Frankenstein's questionable experiments and creations, Dear brings up the further themes of scientific ethics and responsibility, parental neglect, and the old chestnut of good versus evil. There are variations in the plot points, which only the Shelley purists will likely miss. One aspect I appreciated the most, is this is the tale as told from the Creature's perspective; the entire play emits from the birth of the creature through to the climax.

Boyle's production is buttressed by a wide-open stage, accented with spare set pieces designed by Mark Tildesley, including a Steam-Punk-inspired contraption deserving an award for special effects. Rain effects, and pulsating lighting effects - provided by an estimated 3,500 vintage-style lightbulbs - designed by Bruno Poet further enhance the striking imagery throughout the show.

Another striking element of the production set upon the vast Olivier Stage are the times the deck is nearly empty, save for the creature or Victor, which shines a light on the loneliness which permeates the original story as only live theatre can bring to life.

As we still spend most of our lives under the COVID-19 based restrictions, it was a sobering couple of hours to spend time with Victor Frankenstein and his creation - a tale of science and ego run amok - knowing science and medical research is urging us to stay separated from others and away from the mainstream of our daily routines. A new form of loneliness where we can take a trip to the National Theatre from the comfort of our sofa and laptop. Oh, Mary Shelley: what would you think of your creation now?

Advisory: Brief nudity, adult situations and mild language. Recommended for ages 12 and up.

Running Time: 2 hours - streaming.

"Frankenstein" with Benedict Cumberbatch as the Creature and Jonny Lee Miller as Victor Frankenstein, produced by National Theatre Live, is available to watch for free on the theatre's YouTube page through this Thursday at 2 pm. Click here for the Cumberbatch/Creature version. Also available is the alternate version where Miller and Cumberbatch switch roles, available until Friday at 2 pm; click here for that version.

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Theatre Review: 'Frankenstein' with Benedict Cumberbatch as the Creature by National Theatre Live

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Gone is the black and gray, ill-fitting suit, neck bolts, and lumbering walk in platform shoes. This time Victor Frankenstein's iconic creature has been taken back to his origins in author Mary Shelley's nightmare turned into one of the first and most famous examples of horror and science fiction.

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Full Video of Frankenstein with Benedict Cumberbatch as the creature

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Full Video of Frankenstein with Benedict Cumberbatch as the creature

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Уладзімір Грыбчанка

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Official Frankenstein with Benedict Cumberbatch as the creature

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The creature afraid of others touching his body

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The creature afraid of others touching his body

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National Theatre Live: Frankenstein | Official Trailer

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Official Clip | Creature and Victor Make a Deal | Frankenstein: National Theatre at Home

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Nick Dear: Adapting Frankenstein for the Stage | National Theatre at Home

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The creature has a good imitation ability

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The creature has a good imitation ability

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The Creature: A Character Study | Frankenstein | National Theatre at Home

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1. Outline

2. Draft

3. Sources

4. Output

5. Reflection

6. Illustrations

7. Class-activity

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Childlike in his innocence but grotesque in form, Frankenstein’s bewildered creature is cast out into a hostile universe by his horror-struck maker. Meeting with cruelty wherever he goes, the increasingly desperate and vengeful Creature determines to track down his creator and strike a terrifying deal.

Directed by Academy Award-winner Danny Boyle, featuring Benedict Cumberbatch as the creature and Jonny Lee Miller as Victor Frankenstein.

Frankenstein is a stage adaptation by Nick Dear of Mary Shelley's 1818 novel Frankenstein; or, The Modern Prometheus.

Its world premiere was at the Royal National Theatre on 5 February 2011, where it officially opened on 22 February. This production was directed by Danny Boyle[1] with a cast including Benedict Cumberbatch and Jonny Lee Miller, with the two lead actors alternating the roles of Victor Frankenstein and the Creature. Frankenstein ended its run on 2 May 2011.

Plot

Victor Frankenstein creates a monster from human corpses. Once the Creature is brought to life, however, Victor is appalled by his creation's deformed appearance and flees in terror. The Creature wanders through the streets of Ingolstadt, lost and confused. Meanwhile, Gretel, a prostitute, is being assaulted in an alleyway and calls for help. The Creature frightens off her attacker, but Gretel recoils from her saviour, and a mob of villagers chase the Creature away. The next morning, the Creature sees the dawn for the first time and finds Victor's journal. He is then attacked by two beggars when he tries to take their food.

The Creature hides in an old cottage which is inhabited by a married couple, Felix and Agatha, and Felix's elderly, blind father, De Lacey. The Creature comes to care for them and brings them food in secret. De Lacey finds and befriends the Creature and, over the course of a year, teaches him to speak, read and write. The Creature reads Victor's journal and learns about his creator. De Lacey also teaches the Creature about love, and the Creature dreams of having a female partner. One day, Felix and Agatha come home and find the Creature; much as the Creature had feared, they are repulsed by him and drive him out. Enraged, the Creature sets fire to the cottage, killing the entire family. He swears revenge on Victor for bringing him into a world that hates him.

By Lake Geneva, Elizabeth Lavenz, Victor's fiancée, is playing hide and seek with William, Victor's younger brother, and her maids. They all leave William blindfolded while they go off to hide. The Creature tries to befriend William, and tells him he is looking for a man called Frankenstein. William says that's his surname and Victor is his brother. William sees the Creature's face and tries to run, but the Creature catches him and carries him off. That night Victor and his father, Monsieur Frankenstein, find William's dead body, with pages from Victor's journal. Victor realizes that the Creature killed his brother, and resolves to destroy him.

Victor tracks the Creature to the Alps and confronts him. The Creature asks Victor to create a female mate for him, promising in return to leave humanity alone; the Creature also threatens to destroy Victor's life if he refuses. Left with little choice and intrigued by the challenge, Victor agrees. He moves to Scotland and, in a matter of months, creates a "bride" for the Creature. When the Creature comes to claim her, however, Victor refuses to give her to him, aghast at the possibility of their creating a race of monsters. He destroys the female and the Creature disappears into the night, swearing revenge.

Victor returns to Geneva and marries Elizabeth. On their wedding night, he confesses what he has done, and promises that he will put an end to the situation that night. He leaves the room intent on destroying the Creature, but the Creature appears in their bridal suite and rapes and murders Elizabeth. Victor bursts into the room with a gun, but can't bring himself to shoot, and the Creature escapes. Victor attempts to bring Elizabeth back to life, but his father stops him, ordering him to be taken away.

Victor pursues the Creature to the Arctic Circle, where he collapses, frostbitten and exhausted. The Creature comes to see what has happened to Victor and, thinking he has died, begs his forgiveness. He gives Victor seal meat and pours wine into his mouth to revive him, and tells his creator he loves him. Victor admits he does not know how to love, and insists in continuing his hate-driven pursuit of the Creature. Both resigned to their fate, the Creature leads Victor on into the fog.

The creature doesn’t know how to speak human language. In the beginning, he keeps making non-human sounds. Instead of walking he crawls in the first place, slowly he learns how to stand then he knows how to walk. He was abandoned by the scientist Victor who created him when he saw his horrible look. Victor covered him with a cloth because of his scary appearance. He was always beaten by the people he met on his journey. He’s scolded by people, although he helped the lady to scare away the old man who choked her neck. When he met the blind old man he learned how to read and speak. But he was afraid when the old man tried to touch him because he knew people were scared of his looks. He learns things fast and knows how to imitate. And when he trusts the old man that Agatha and Felix will not be scared of him, he learns how to trust like a living creature. But when Agatha and Felix chased him away and cursed at him. He begins to understand what is hate and slowly he knows revenge. It enlightened me to think that no creature is born evil or good. We learn how to be human through the journey. The crucial things to decide what kind of people we will become are those people we met and things that happened to us during the journey.

When the creature set the house on fire, the house became red. Also, there’s a T-shape bridge on the stage where the creature takes Victor’s little brother. When they found the little boy had died, they sent him out in a boat. Since they put a T-shape bridge there, when they pushed the boat on stage really gave the audience an image of a lake. Furthermore, Victor’s house set is built with a slightly sloping design. They divided the stage into two parts, one is Victor’s house and another one is where Victor creates the wife for the creature.

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Differences from the novel

The story is told from the Creature's perspective rather than from Victor's. Because of this, the audience witnesses events such as his relationship with De Lacey firsthand rather than in backstory.

The frame story involving Captain Robert Walton is dispensed with entirely, as well as much of Victor Frankenstein's backstory. The play opens directly with the Creature's "birth".

The Creature is vegetarian in the novel but eats rabbit in a scene in the play.

Mr. De Lacey teaches the Creature to read and speak; in the novel the Creature reads on his own and learns to speak just by observing the family.

The Creature kills the De Lacey family in revenge for their rejection of him, which he does not in the novel.

Elizabeth Lavenza is Victor's cousin rather than his adopted sister. (They are cousins in the original release of the novel but changed to adopted siblings in the 1831 rewrite. In the play, they remain cousins.)

The Creature doesn't leave for Geneva until a full year after his birth, rather than four months in the novel.

The character of Justine, William's nurse, is cut, and William's murder is never solved. The character of Henry Clerval is also cut.

Monsieur Frankenstein personally brings Victor home from Scotland, and Victor is never imprisoned due to the absence of Clerval from the story.

The Creature's mate is partially animated and is able to walk in a trance-like state before she is destroyed; in the novel she is not animated at all.

The Creature rapes Elizabeth before killing her in the play, this does not happen in the novel.

Victor Frankenstein and Elizabeth stay in Geneva on their wedding night, rather than Villa Lavenza by Lake Como in the novel.

Felix and Agatha are a married couple in the play, whereas they are siblings in the novel. The character of Safie has been cut.

Victor dies at the end of the novel; in the play he does not.