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ALL RIGHTS RESERVED Copyright Protection. This play (the “Play”) is fully protected under the copyright laws of the United States of America and all countries with which the United States has reciprocal copyright relations, whether through bilateral or multilateral treaties or otherwise, and including, but not limited to, all coun- tries covered by the Pan-American Copyright Convention, the Universal Copyright Convention, and the Berne Convention. Reservation of Rights. All rights to this Play are strictly reserved, including, without limitation, profes- sional and amateur stage performance rights; motion picture, recitation, lecturing, public reading, radio broadcasting, television, video, and sound recording rights; rights to all other forms of mechanical or electronic reproduction now known or yet to be invented, such as CD-ROM, CD-I, DVD, photocopying, and information storage and retrieval systems; and the rights of translation into non-English languages. Performance Licensing and Royalty Payments. Amateur and stock performance rights to this Play are controlled exclusively by Playscripts, Inc. (“Playscripts”). No amateur or stock production groups or individuals may perform this Play without obtaining advance written permission from Playscripts. Required royalty fees for performing this Play are specified online at the Playscripts website (www.play- scripts.com). Such royalty fees may be subject to change without notice. Although this book may have been obtained for a particular licensed performance, such performance rights, if any, are not transferable. Required royalties must be paid every time the Play is performed before any audience, whether or not it is presented for profit and whether or not admission is charged. All licensing requests and inquiries concerning amateur and stock performance rights should be addressed to Playscripts (see contact infor- mation on opposite page). Frankenstein, A New Musical (1st ed. - 08.11.09) - frankensteinmusical8jp Copyright © 2009 Mark Baron and Jeffrey Jackson Inquiries concerning all other rights should be addressed to Playscripts, as well; such inquiries will be communicated to the author and the author’s agent, as applicable. Restriction of Alterations. There shall be no deletions, alterations, or changes of any kind made to the Play, including the changing of character gender, the cutting of dialogue, the cutting of music, or the alteration of objectionable language, unless directly authorized by Playscripts. The title of the Play shall not be altered. Author Credit. Any individual or group receiving permission to produce this Play is required to give credit to the author as the sole and exclusive author of the Play. This obligation applies to the title page of every program distributed in connection with performances of the Play, and in any instance that the title of the Play appears for purposes of advertising, publicizing, or otherwise exploiting the Play and/ or a production thereof. The name of the author must appear on a separate line, in which no other name appears, immediately beneath the title and of a font size at least 50% as large as the largest letter used in the title of the Play. No person, firm, or entity may receive credit larger or more prominent than that accorded the author. The name of the author may not be abbreviated or otherwise altered from the form in which it appears in this Play. Publisher Attribution. All programs, advertisements, and other printed material distributed or pub- lished in connection with the amateur or stock production of the Play shall include the following notice: Produced by special arrangement with Playscripts, Inc. (www.playscripts.com) Prohibition of Unauthorized Copying. Any unauthorized copying of this book or excerpts from this book is strictly forbidden by law. Except as otherwise permitted by applicable law, no part of this book may be reproduced, stored in a retrieval system, or transmitted in any form, by any means now known or yet to be invented, including, without limitation, photocopying or scanning, without prior permission from Playscripts. Statement of Non-affiliation. This Play may include references to brand names and trademarks owned by third parties, and may include references to public figures. Playscripts is not necessarily affiliated with these public figures, or with the owners of such trademarks and brand names. Such references are included solely for parody, political comment, or other permitted purposes. Permissions for Sound Recordings and Musical Works. This Play may contain directions calling for the performance of a portion, or all, of a musical work not included in the Play’s score, or performance of a sound recording of such a musical work. Playscripts has not obtained permissions to perform such works. The producer of this Play is advised to obtain such permissions, if required in the context of the production. The producer is directed to the websites of the U.S. Copyright Office (www.copyright.gov), ASCAP (www.ascap.com), BMI (www.bmi.com), and NMPA (www.nmpa.org) for further information on the need to obtain permissions, and on procedures for obtaining such permissions.

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Page 1: Frankenstein - A New Musical

ALL RIGHTS RESERVED

Copyright Protection. This play (the “Play”) is fully protected under the copyright laws of the United States of America and all countries with which the United States has reciprocal copyright relations, whether through bilateral or multilateral treaties or otherwise, and including, but not limited to, all coun-tries covered by the Pan-American Copyright Convention, the Universal Copyright Convention, and the Berne Convention.

Reservation of Rights. All rights to this Play are strictly reserved, including, without limitation, profes-sional and amateur stage performance rights; motion picture, recitation, lecturing, public reading, radio broadcasting, television, video, and sound recording rights; rights to all other forms of mechanical or electronic reproduction now known or yet to be invented, such as CD-ROM, CD-I, DVD, photocopying, and information storage and retrieval systems; and the rights of translation into non-English languages.

Performance Licensing and Royalty Payments. Amateur and stock performance rights to this Play are controlled exclusively by Playscripts, Inc. (“Playscripts”). No amateur or stock production groups or individuals may perform this Play without obtaining advance written permission from Playscripts. Required royalty fees for performing this Play are specified online at the Playscripts website (www.play-scripts.com). Such royalty fees may be subject to change without notice. Although this book may have been obtained for a particular licensed performance, such performance rights, if any, are not transferable. Required royalties must be paid every time the Play is performed before any audience, whether or not it is presented for profit and whether or not admission is charged. All licensing requests and inquiries concerning amateur and stock performance rights should be addressed to Playscripts (see contact infor-mation on opposite page).

Frankenstein, A New Musical (1st ed. - 08.11.09) - frankensteinmusical8jpCopyright © 2009 Mark Baron and Jeffrey Jackson

Inquiries concerning all other rights should be addressed to Playscripts, as well; such inquiries will be communicated to the author and the author’s agent, as applicable.

Restriction of Alterations. There shall be no deletions, alterations, or changes of any kind made to the Play, including the changing of character gender, the cutting of dialogue, the cutting of music, or the alteration of objectionable language, unless directly authorized by Playscripts. The title of the Play shall not be altered.

Author Credit. Any individual or group receiving permission to produce this Play is required to give credit to the author as the sole and exclusive author of the Play. This obligation applies to the title page of every program distributed in connection with performances of the Play, and in any instance that the title of the Play appears for purposes of advertising, publicizing, or otherwise exploiting the Play and/or a production thereof. The name of the author must appear on a separate line, in which no other name appears, immediately beneath the title and of a font size at least 50% as large as the largest letter used in the title of the Play. No person, firm, or entity may receive credit larger or more prominent than that accorded the author. The name of the author may not be abbreviated or otherwise altered from the form in which it appears in this Play.

Publisher Attribution. All programs, advertisements, and other printed material distributed or pub-lished in connection with the amateur or stock production of the Play shall include the following notice:

Produced by special arrangement with Playscripts, Inc.(www.playscripts.com)

Prohibition of Unauthorized Copying. Any unauthorized copying of this book or excerpts from this book is strictly forbidden by law. Except as otherwise permitted by applicable law, no part of this book may be reproduced, stored in a retrieval system, or transmitted in any form, by any means now known or yet to be invented, including, without limitation, photocopying or scanning, without prior permission from Playscripts.

Statement of Non-affiliation. This Play may include references to brand names and trademarks owned by third parties, and may include references to public figures. Playscripts is not necessarily affiliated with these public figures, or with the owners of such trademarks and brand names. Such references are included solely for parody, political comment, or other permitted purposes.

Permissions for Sound Recordings and Musical Works. This Play may contain directions calling for the performance of a portion, or all, of a musical work not included in the Play’s score, or performance of a sound recording of such a musical work. Playscripts has not obtained permissions to perform such works. The producer of this Play is advised to obtain such permissions, if required in the context of the production. The producer is directed to the websites of the U.S. Copyright Office (www.copyright.gov), ASCAP (www.ascap.com), BMI (www.bmi.com), and NMPA (www.nmpa.org) for further information on the need to obtain permissions, and on procedures for obtaining such permissions.

Page 2: Frankenstein - A New Musical

Playscripts, Inc. toll-free phone: 1-866-New-Play450 Seventh ave, Suite 809 email: [email protected] New york, Ny 10123 website: www.playscripts.com

The Rules in Brief1) Do NOT perform this Play without obtaining prior permission

from Playscripts, and without paying the required royalty.

2) Do NOT photocopy, scan, or otherwise duplicate any part of this book.

3) Do NOT alter the text of the Play, change a character’s gender, delete any dialogue, cut any music, or alter any objectionable language, unless explicitly authorized by Playscripts.

4) DO provide the required credit to the author(s) and the required attribution to Playscripts in all programs and promotional lit-erature associated with any performance of this Play.

For more details on these and other rules, see the opposite page.

Copyright Basics This Play is protected by United States and international copyright law. These laws ensure that authors are rewarded for creating new and vital dramatic work, and protect them against theft and abuse of their work.

a play is a piece of property, fully owned by the author, just like a house or car. you must obtain permission to use this property, and must pay a royalty fee for the privilege—whether or not you charge an admission fee. Playscripts collects these required payments on behalf of the author.

anyone who violates an author’s copyright is liable as a copyright infringer under United States and international law. Playscripts and the author are entitled to institute legal action for any such infringe-ment, which can subject the infringer to actual damages, statutory damages, and attorneys’ fees. a court may impose statutory damages of up to $150,000 for willful copyright infringements. U.S. copyright law also provides for possible criminal sanctions. Visit the website of the U.S. Copyright Office (www.copyright.gov) for more information.

THe BOTTOM lINe: If you break copyright law, you are robbing a playwright and opening yourself to expensive legal action. Follow the rules, and when in doubt, ask us.

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4

Cast of Characters

VICTOR FRaNKeNSTeIN, a brilliant, young scientist

ROBeRT walTON, a sea captain

THe CReaTURe, the subject of Victor’s grand experiment

elIZaBeTH laVeNZa, Victor’s fiancé

HeNRy CleRVal, Victor’s lifelong friend

VICTOR’S FaTHeR, alphonse Frankenstein

VICTOR’S MOTHeR, Caroline

wIllIaM, Victor’s 10-year-old brother

JUSTINe, william’s nanny

THe BlIND MaN, a poor cottager

aGaTHa, the blind man’s daughter

Setting

The late 18th century.

Geneva, Switzerland.

Ingolstadt, Germany.

Various locales throughout europe and the arctic.

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5

Production Notes

Mary Shelley’s Frankenstein is an epic story that covers great spans of time and geography with complex flashbacks. As such, a great deal of creativity is needed to bring it to the stage. But with this challenge comes a great degree of flexibility. Frankenstein can be large and lav-ish or small and intimate. It can employ elaborate sets and costumes, or minimal suggestions thereof. You will find very few descriptions of sets and production elements throughout this script, as the cre-ators wish to allow for the widest range of production possibilities.

Where essential, specific production notes are provided throughout the script. However, here’s a few general things to keep in mind:

1. Creature Makeup: There is a great temptation to create fantastic makeup designs for Frankenstein’s monster. Our New york produc-tion did the opposite by using no makeup whatsoever and relying on the actors’ performances to convey the horror of the “Creature.” we invite you to go either route, but caution you avoid going too “Hol-lywood.” Instead, we encourage your designers to use their imagi-nations to invent ways of suggesting the Creature’s unique physiog-nomy without falling into the trap of depicting it too literally.

2. Sound Effects: The script calls for several essential sound effects. However, there are many more possible beyond those noted. Create as rich a sonic experience for your audience as your production can accommodate. (NOTe: If you are using the pre-recorded accompa-niment tracks, some of these are embedded within those tracks.)

3. Projections: The script calls for several projections to help clar-ify the storytelling. These can be as simple as a few title slides or grow to include scenic imagery. Only the most essential projections are noted in the script, but feel free to create and embellish beyond these.

4. World Premiere Recording: we welcome you and your perform-ers to obtain and study the world Premiere Recording from our Ny production. However, please note that there are some differences between that recording and the actual show. In all instances, what you see in this script takes precedence.

5. Pre-Recorded Music CDs: If your are interested in using the CD of pre-recorded music accompaniment instead of a live orchestra, there is also a script with track cues available. Please contact Play-scripts, Inc. for details.

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Acknowledgments

Frankenstein, A New Musical premiered Off-Broadway at 37 arts Theatre in New york City on November 1, 2007. It was directed by Bill Fennelly and produced by Gerald Goehring, Douglas C. evans, Michael F. Mitri, and David S. Stone in association with Barbara & emery Olcott with the following cast and crew:

VICTOR’S MOTHeR . . . . . . . . . . . . . . . . . . . . . Becky Bartaa CONDeMNeD MaN /THe “CReaTURe” . . . . . . . . . . . . . . . . . . .Steve BlanchardJUSTINe MORITZ . . . . . . . . . . . . . . . . . . . . . .Mandy BrunoaGaTHa . . . . . . . . . . . . . . . . . . . . . . . . . . Casey erin ClarkwIllIaM . . . . . . . . . . . . . . . . . . . . . . . . . .Struan erlenbornVICTOR FRaNKeNSTeIN . . . . . . . . . . . . . .Hunter FosterVICTOR’S FaTHeR . . . . . . . . . . . . . . . .eric Michael GillettelIZaBeTH laVeNZa . . . . . . . . . . . . . . . Christiane NollCaPT. ROBeRT walTON . . . . . . . . . . . . . aaron SerotskyHeNRy CleRVal . . . . . . . . . . . . . . . . . . . . . . . Jim StanekVaRIOUS OTHeR CHaRaCTeRS . . . . . . . .Nick Cartell, leslie Henstock,

Patrick Mellen

CONDUCTOR/KeyBOaRD . . . . . . . . . . . Stephen PurdyKeyBOaRD . . . . . . . . . . . . . . . . . . . . . . . . . . . . Martyn axeDRUMS / PeRCUSSION . . . . . . . . . . . . . . . . . .Keith CrupiGUITaR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . alan CohenwOODwINDS . . . . . . . . . . . . . . . . . Christine MacDonnellBaSS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Hugh Mason

Scenic Design . . . . . . . . . . . . . . . . . . . . . . . . . . . Kevin Judge Costume Design . . . . . . . . . . . . . . . . . . . . . . . emily Pepper lighting Design . . . . . . . . . . . . . . . . . . . . . . . .Thom weaver Sound Design . . . . . . . . . . . . Domonic Sack & Carl Casella Projection Design . . . . . . . . . . . . . . . . . . . . . Michael Clark Orchestrations . . . . . . . . . Richard DeRosa & Mark Baron Music Coordinator . . . . . . . . . . . . . . . . . . . . . . alan Cohen Music Direction . . . . . . . . . . . . . . . . . . . . . . . Stephen Purdy Choreography . . . . . . . . . . . . . . . . . . . . . . . . . Kelly Devine Company Manager . . . . . . . . . . . . . . . . . . . . Rich Shulman Production Stage Manager . . . . . . . . . . . . . . Joshua Pilote General Manager . . . . . . . . . . . . . . . . . . . . . william Repicci

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Frankenstein, a new Musicalmusic by Mark Baron

book and lyrics by Jeffrey Jacksonoriginal story adaptation by Gary P. Cohen

from the novel by mary Shelley

ACT I

Scene 1

(A harsh wind howls angrily. [Sound effects.])

(Lights up on a solitary figure awash in a beam of blinding white light. He is VICTOR FRaNKeNSTeIN. He is on his knees, la-boring for breath…dying.)

(Six people appear at various positions around the stage in near darkness.)

(Lights up on one of them, a sea captain—ROBeRT walTON. Something that has deeply terrified him haunts him still.)

(Song: [1] “Prelude.”)

WALTON. Captain Robert walton, in a letter to his sister, Novem-ber 9th, 1793. It was just north of the arctic Circle that I discovered him—adrift on a floe of ice alongside our ship. A wretch, near death. In the days that followed, he would tell me a tale strange and hor-rifying. His life…a twisted path of destruction. His deeds…almost too incredible to recount.

VICTOR. I aM THe INNOCeNT. I aM THe DaMNeD.

WALTON. I alone know the heart of this man…

VICTOR. THe FOUNT OF DelUSION. THe FaTHeR OF DReaMS.

WALTON. …for I alone am still haunted by the faces of those he loved.

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10 Frankenstein, A New Musical

(Each of six other characters is illuminated as they speak. First, a distinguished patriarch and his regal wife:)

FATHER. …his adoring father, who could see in him only greatness.

MOTHER. …the mother whose loving spirit he could not bear to lose.

(Next, a boy of 10 and his young governess:)

WILLIAM. The young brother who worshipped him…

JUSTINE. …and the faithful servant who understood why.

VICTOR. I aM NOT a MaDMaN!

(An earnest young man:)

HENRY. The soul who was his dearest friend in life.

WALTON. …and the woman who—from their childhood days—had been…

(elIZaBeTH, a beautiful, young woman emerges:)

ELIZABETH. …his one true love.

VICTOR. I CaN HeaR My NaMe…

HENRY. His story is the province of nightmares.

VICTOR. BlaCKeNeD By My CRIMe…

ELIZABETH. yet it must be told.

VICTOR.HaUNTING Me aND TaUNTING aS ITeCHOeS THROUGH all TIMe…

WALTON. His name…is Frankenstein.

(Song: [2] “Overture.”)

(The previous scene disappears as the music explodes into a dark and driving theme.)

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Frankenstein, A New Musical 11

(Production Note: Here, something should be done to suggest a movement backwards through time. If projections are part of your production, you might employ a montage of projected images that will be used later on, but running backward through the events and places of Victor’s life. The years between 1793 and 1769 can be “counted down” cinematically as well. If no projections are available, then use creative staging to transform VICTOR from the dying wretch we have just seen into a vibrant youth. Or, a combination of both techniques can be used! We encourage you to use your creativity freely.)

Scene 2

(We are now on lavish estate at the foot of the Alps in Geneva. The music swells into a bright, cheerful waltz as sunlight bathes the pastoral setting.)

(Song: [3A] “A Golden Age (Part 1).”)

(Title Slide: GENEVA. 1769.)

(The full eNSeMBle takes the stage to embody the NOBIlITy of the province.)

NOBILITY.lIFe NO MORe IS MySTeRyTHe wORlD’S aT OUR COMMaNDOUR KNOwleDGe aND OUR INDUSTRyHaVe PlaCeD IT IN OUR HaNDSMeN OF VISION, SPIRITS BOlDwIll OPeN eV’Ry DOORTHe wORlD, a TOyeaCH Day, a JOyaND wIll Be FOReVeR MORe

(The focus shifts to a young boy—VICTOR at age 7.)

(Production Note: Can be played by same actor as wIllIaM. A hat or some other device can be employed to change his look.)

(His FaTHeR and MOTHeR appear:)

MOTHER. Victor Frankenstein…

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12 Frankenstein, A New Musical

FATHER. …our beloved boy.

MOTHER. we live in a glorious time, my son.

FATHER. a time when one man with knowledge can change the world.

NOBILITY.a GOlDeN aGe IS TRUly UPON USaN eRa OF wealTH aND SPleNDORMaSTeRS OF FaTe, aUGUST aND eNlIGHTeNeDIS HOw we’ll Be ReMeMBeReDa GOlDeN aGe OF SCIeNCe aND ReaSONDISCOVeRy aND INSPIRaTIONMaRVelOUS TIMe, MIRaCUlOUS wORlDTHe DawN OF ReVelaTION

(One person—a SCHOOlMaSTeR—steps forward to address VICTOR’S FaTHeR:)

SCHOOLMASTER. your son Victor is the most gifted student we have ever seen. His facility for the natural sciences is unparalleled.

GUEST #1. THe BRIGHTeST CHIlD we’Ve eVeR SeeN

OTHER GUESTS. …GIFTeD BOy…

GUEST #2. MONUMeNTal THINGS awaIT

OTHER GUESTS. …FaTHeR’S JOy…

GUEST #3. aNOTHeR NewTON, GalIleO!

OTHER GUESTS. …wONDROUS DayS…

GUEST #4. THINK OF wHaT He MIGHT CReaTe!

OTHER GUESTS. …GOlDeN aGe…

FATHER.THe FUTURe IS a BaNQUeTaND IT’S TIMe FOR US TO DINe!

ALL.we RaISe a GlaSS… PROPOSe a TOaST…TO THe HOUSe OF FRaNKeNSTeIN

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Frankenstein, A New Musical 13

(Title Slide: 1777.)

(The mood shifts from festive to sentimental as the lights dim on all but MOTHeR:)

MOTHER. Victor, your father and I have blessed news. after all these years…perhaps a brother for you. we shall call him “william.”

(MOTHeR takes yOUNG VICTOR’s hand and touches it to her stomach.)

The greatest miracle of all is within each of us, Victor. life.

(As she crosses the stage, MOTHeR removes a shawl from her shoulders and gathers it in her arms, cradling it—a baby.)

NOBILITY.a GOlDeN aGe IS TRUly UPON USaN eRa OF wealTH aND SPleNDORMaSTeRS OF FaTe, aUGUST aND eNlIGHTeNeDIS HOw we’ll Be ReMeMBeReD

(During next, title slide changes: from “1777” to…)

(Title Slide: 1787.)

(An OFFICIal from the University of Ingolstadt reads the text of a letter:)

UNIV. OFFICIAL. we are pleased and proud to accept your son, Victor, at the University of Ingolstadt.

(VICTOR, now fully grown, appears. He is young and vibrant—a far cry from the haggard wretch we saw at the play’s beginning.)

(He rushes downstage to join HeNRy, busting with great news:)

VICTOR. It’s the finest school of the sciences in all of Europe!

HENRY. Congratulations.

VICTOR. Come with me, my friend. we can uncover life’s mysteries together.

HENRY. you have a true calling, Victor. But…I’m afraid it’s not one that I share.

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14 Frankenstein, A New Musical

VICTOR. Henry…I think I’ve discovered something extraordinary. I…I can’t explain it yet. But only at Ingolstadt will I find the tools to explore it.

HENRY. Victor…since boyhood you have been bent on conquering the world. Haven’t you learned that no man truly can?

VICTOR. (Defiantly:) what I’ve learned…is that there is no secret that mankind will not one day know.

HENRY. and perhaps…regret knowing.

(Frustrated, HeNRy walks away. FaTHeR appears.)

FATHER. Victor…come. your mother hasn’t much time.

(Song: [3B] “Golden Age Underscore.”)

(Projection: Cemetery.)

(The NOBIlITy gathers once again, this time for Mother’s fu-neral.)

(wIllIaM approaches VICTOR, cupping something in his hands.)

WILLIAM. It’s a sparrow. I found it. (As VICTOR inspects it:) Is it dead?

VICTOR. I’m afraid so.

WILLIAM. Do birds die of scarlet fever…like Mother?

VICTOR. (Bitterly:) No. Only people.

(wIllIaM and the mourners recede, leaving VICTOR alone.)

(JUSTINe enters and hands Victor’s cloak and valise to elIZa-BeTH.)

JUSTINE. your carriage is ready, Master Victor.

(She exits, leaving VICTOR and elIZaBeTH alone.)

ELIZABETH. we both know your mother would have wanted you to go on to University, Victor.

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Frankenstein, A New Musical 15

VICTOR. elizabeth…we haven’t been apart for a day since we were five. How will I manage without you?

ELIZABETH. Quite badly, I imagine.

(Her teasing cheers him.)

(Song: [3C] “A Golden Age (Part 2) / Find Your Way Home.”)

(As she sings, she dresses him lovingly in the cloak, preparing him for his journey:)

ELIZABETH.NO Day SINCe CHIlDHOOD HaS FOUND US aPaRTBUT NOw yOU MUST leaVe US TO FOllOw yOUR HeaRTleT yOUR SPIRIT SOaR aND yOUR GeNIUS FIND wINGSBUT KNOw THaT IF eVeR yOU FallI wIll Be THeRe THROUGH IT all

(A flash from Victor’s memory: his MOTHeR appears.)

MOTHER. My children…there is a special bond between you that may be tested—but can never be broken.

VICTOR.eVeR My aNGel… THe lIGHT OF My SOUlwe HaVe BeeN alwayS TwO PaRTS OF ONe wHOleaNywHeRe I GO yOU wIll alwayS Be NeaRaND ONe Day I’ll MaKe yOU SO PROUD

ELIZABETH. yOU’Ve alReaDy MaDe Me SO PROUD

MOTHER. yOU’Ve alReaDy MaDe Me SO PROUD

(The lights dim on MOTHeR until she disappears.)

VICTOR & ELIZABETH.THeRe IS a PlaCe aT THe eND OF THe JOURNeywITH eVeRy GOOD THING yOU HaVe KNOwNSO MaNy HOPeS THaT yOU BeaR FOR SO MaNy

ELIZABETH.I HaVe BUT ONe HOPe OF My OwNTHaT ONe Day yOU’ll FIND yOUR way HOMe

VICTOR. I will return to you one day, elizabeth. I swear it.

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ELIZABETH. I ask for no promises, Victor. we know not what the future holds for us.

VICTOR. I do.

(VICTOR sweeps her into his arms and kisses her passionately.)

(FaTHeR, wIllIaM, JUSTINe, HeNRy, and the NOBIlITy gather around them. FaTHeR raises his hand in the air, as if lift-ing a glass in toast:)

(Song: [3D] “A Golden Age (Part 3).”)

FATHER. To Victor…who leaves us now for a journey of discovery, carrying with him our hopes and dreams.

(The others join in the salute, all eyes turning proudly to VIC-TOR:)

ALL.THIS GOlDeN aGe IS yOURS FOR THe TaKINGyOUR MaGICal PlaCe IN TIMewe RaISe OUR HeaRTS, aND HaIl wITH PRIDeTO THe HOUSe…TO THe HOUSe…TO THe HOUSe OF FRaNKeNSTeIN!

Scene 3

(Song: [3E] “Mother’s Grave.”)

(Projection: Cemetery.)

(VICTOR is now alone at the grave of his mother, still dressed in his cloak and carrying his valise. He kneels and touches his hand to the earth.)

VICTOR. How can someone who was the light of our world…be suddenly gone forever? Mother…I vow to do all in my power to one day see us reunited again. I have discovered the secret of life.

(He reaches into his bag and carefully removes something: The sparrow. He releases the bird and it flies off! The sound of its beat-ing wings grows thunderous.)

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Frankenstein, A New Musical 17

(Sound Effects.)

(Production Note: The flight of the sparrow can be realized in some stylistic way—through simple mime, projections, shadow-play, sound effects, or a combination thereof. The NY production also employed a red silk handkerchief to symbolize the bird, both in the scene where wIllIaM first presents it to VICTOR and here. The music and lights change and the setting shifts around VICTOR to suggest his journey to Ingolstadt:)

(Title Slide: THE UNIVERSITY OF INGOLSTADT. 1788.)

(The ensemble re-appears, dispersed around VICTOR and now embodying the voices of his Professors at the University.)

(Overlapping completely, in a cacophony:)

PROFESSOR #1. Frankenstein, we find your ideas shocking, dan-gerous, and an affront to all that is moral and decent.

PROFESSOR #2. Only a fool or a heretic would dare trifle with life and death as you propose.

PROFESSOR #3. your obsession with discredited charlatans and their dubious science is pure FOlly.

PROFESSOR #4. The University will not stand for these outlandish and unauthorized experiments of yours.

PROFESSOR #2. It is INSaNITy!

PROFESSOR #5. what is this MaDNeSS?! …wasting your time haunting graveyards and mortuaries.

(Behind them, another scene is forming. An angry MOB gathers as a CONDeMNeD MaN, hands bound behind his back, is led onto a scaffold. The voices continue to berate VICTOR:)

ALL. It is… MaDNeSS… FOlly… INSaNITy!

PROFESSOR #1. The dead have nothing to say to you.

(The ensemble now completes their transformation into…)

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Scene 4

(…the MOB at a public hanging, their focus shifting from VIC-TOR to the CONDeMNeD MaN. Near him on the scaffold stands an eXeCUTIONeR:)

(A rumble of thunder. [Sound effect.] A storm is growing.)

(Title Slide: INGOLSTADT. 1789.)

(Song: [4] “Amen.”)

CONDEMNED MAN.I CURSe THe Day THaT I waS BORNINTO a wORlD SO BlaCK wITH HaTeI’ll GlaDly leaVe THIS lIFe OF SCORNaND SeeK My PeaCe BeFORe THelIGHT OF HeaVeN’S GaTe

I HaVe My SINS lIKe aNy MaNBUT NONe MORe DaRK THaN yOURSIF IT IS I yOU CHOOSe TO DaMNINNOCeNT BlOOD wIll STaIN yOUR HaNDSFOReVeR MORe

EXECUTIONER. (Spoken:) For crimes against the people…

MOB. yOUR KIND HaS NO PlaCe BUT THe GRaVe

EXECUTIONER. …the magistrate of Ingolstadt hereby sentences you…

MOB. NOT eVeN a SOUl THaT CaN Be SaVeD

EXECUTIONER. …to be hanged by the neck until dead…

MOB. SOON yOU wIll KNOw eTeRNal PaIN

EXECUTIONER. …this sixteenth day of September, Seventeen Hundred and… (Trails off.)

MOB. yOUR KIND HaS NO PlaCe BUT THe GRaVe

CONDEMNED MAN. wHaT’S wRONG? wHaT’S RIGHT?

MOB. NOT eVeN a SOUl THaT CaN Be SaVeD

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CONDEMNED MAN. DOeS MaN DeCIDe?

MOB. SOON yOU wIll KNOw eTeRNal PaIN

CONDEMNED MAN. wHO DaReS TO aCT aS GOD?

MOB. NO MaN wOUlD DaRe TO aCT aS GOD!

(VICTOR gazes at the CONDeMNeD MaN.)

VICTOR.aNOTHeR SOUl… aNOTHeR lIGHTaNOTHeR FlaMe eXTINGUISHeDONe MOMeNT HeRe aND THeN IT’S GONea HeaRT IS BeaTING, THeN IS DONeTHe DIFFeReNCe BaRely IS DISTINGUISHeDTHe aNCIeNT RIDDle… wHaT THeN IS lIFe?wHaT IS ITS FleeTING eSSeNCe?THe GReaTeST MINDS HaVe SOUGHT THe KeyTHaT COUlD UNlOCK THIS MySTeRyaND I alONe POSSeSS IT

wHaT I HaVe FOUND waS THOUGHT IMPOSSIBleaND ONly SPOKeN OF IN FeaRBUT IF I SHOw THeM THe IMPOSSIBle—CReaTe a lIFeTHeN all MUST HeaR!

MOB. leT GOD’S wIll Be DONe

VICTOR. THe GaUNTleT waITS, IT CallS TO Me

CONDEMNED MAN. wHaT’S wRONG? wHaT’S RIGHT?

VICTOR. CRyING DeSTINy’S DeMaNDS

MOB. MaKe HIM Pay

CONDEMNED MAN. DOeS MaN DeCIDe?

VICTOR. THe VeRy FaTe OF all MaNKIND…

MOB. FINISH wHaT’S BeGUN

VICTOR. …ReSTS IN THIS MIND…

CONDEMNED MAN. wHO DaReS TO aCT aS GOD?

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VICTOR. …aND IN THeSe HaNDS

MOB. UPON THIS JUDGMeNT Day

CONDEMNED MAN. (Toward Heaven:)OH My CReaTOR, ClaIM Me NOwGRaNT TO Me THIS NIGHTMaRe’S eNDaND IF NO MaN SHall MOURN FOR MeI’ll TRUST IN yOUa-MeN

(With the sound of a loud clatter from the gallows’ trap door, the man is hanged. [Sound effects.] As the crowd begins to disperse, the eXeCUTIONeR calls out:)

EXECUTIONER. who will tend to the remains?

(VICTOR scans the crowd. No one speaks up. He hesitates ner-vously.)

I say…who claims this body?!

(Finally, VICTOR raises his hand; proclaims loudly:)

VICTOR. I do!

(With a great flash of lightning, [Sound effects] the scene behind VICTOR vanishes, taking us to…)

Scene 5

(…his laboratory. It is comprised of an inner chamber, where his work is performed, and an outer chamber that serves as a kind of apartment where a desk and chair sit. A large, wooden door stands between them. There is also an outer door that serves as the en-trance to the place.)

(Production Note: The “work” area of the lab can be as simple or elaborate as you imagine, but there should be some means of ob-scuring it from view, such as a scrim, a turntable, or simply with lighting.)

(Song: [5] “Birth To My Creation.”)

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VICTOR.“MaDNeSS”…“FOlly”…“INSaNITy”lITTle MINDS HaVe BelITTleD My DReaMBUT I… COUlD I… MIGHT IT Be…?THe GReaTeST TRIUMPH MaN HaS eVeR SeeN!

wITHIN THe FleSH a FORCe ReSIDeSIF IT COUlD ONly Be CONTROlleDIF SleePING SPaRKS COUlD SOMeHOw Be ReVIVeDTHINK OF THe awe-INSPIRING POweR we wOUlD HOlDI waNT THe wORlD TO See wHeRe BRaVe ReSeaRCHaND BOlD eXPeRIMeNT HaVe leDeleCTRICITy’S THe KeyTO Re-aNIMaTe THe DeaD

I COUlD SPaRe THe wORlD THe aNGUISHOF lOVeD ONeS TaKeN IN THeIR PRIMeTHe GlORy OF a BRaVe, New wORlDwIll ONe Day SOON Be MINe

IMMORTal SOUl… OUR INNeR BeING…DOeS IT eNDURe OR DOeS IT PeRISH wITH THe FleSH?IN My HaNDS I’ll HOlD THe aNSweRaND THe POweR OF lIFe aND DeaTHMeCCa OF SCIeNCe—GIVe Me THe MeaNSTO walK wHeRe NONe HaVe TRODI’ll DISCOVeR THe SeCReTS BeTweeNTHe alCHeMISTS aND GOD.

(A table appears. Lying atop it is a gigantic body covered head to foot in a sheet.)

(A storm grows outside with flashes of lighting and great rumbles of thunder, [Sound effects] accompanied by the ghostly voices of the CHORUS.)

VICTOR. (Voiceover:) It is nearly finished. I have fashioned him great in size to make easier the handiwork. He will be approximate-ly eight feet in height and comprised of only the most finely-formed limbs and organs…exceedingly perfect. and if I succeed in breath-ing life into this new creation, might I not also—one day—be able to restore life to those claimed by death? The time…12:40 am, Novem-ber 16th. The storm is nearing its zenith. The moment is at hand.

(Production Note: Voiceovers should be pre-recorded with a strong reverb effect when possible. If pre-recording is not possible, the lines

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must be delivered live—but some kind of effect, like a strong reverb/echo, should be employed to distinguish it from other dialog.)

VICTOR.PROMeTHeUS DaReD TO STeal FIRe FROM GODSTO lIFT MaNKIND FROM SORROwaND JUST aS THe MyTH—My MISSION IS THIS:TO wRITe a New TOMORROwMy eNDleSS DayS OF STUDy aND TOIlaRe FINally NeaR FRUITIONTHe wORlD wIll Be FOReVeR CHaNGeDBy HISTORy’S PHySICIaN

lIFe eVeRlaSTING… ReaNIMaTION…a FlawleSS New DeSIGNTHe FINeST HUMaN IN all CReaTIONBODy, BONe aND MINDTHe STORM wIll PeaK aND THe HeaVeNS PaRTTO FIRe My PRePaRaTIONSTHe NeeDeD SHOCK TO STaRT HIS HeaRTGIVING BIRTH TO My CReaTION.

(As the storm grows outside, the voices of the CHORUS swell with it:)

CHORUS.lIFe eVeRlaSTING… ReaNIMaTION…a FlawleSS New DeSIGNTHe FINeST HUMaN IN all CReaTIONBODy, BONe aND—

VICTOR.DaRKNeSS IS DONe; a New Day HaS COMeTHe DawN OF a New ReVelaTIONHeRe IN THIS PlaCe… HeRe IN THIS TIMe…THe BIRTH OF MaN’S SalVaTION!

CHORUS. SalVaTION… SalVaTION… SalVaTION!

(A great bolt of lightning strikes. [Sound effects.] After several ago-nizing moments of violent electrical storming—both outside and within the lab—all grows suddenly quiet and the music falls to a low drone. The lab goes dark.)

(Framed in pulses of light, we can see VICTOR’s silhouette as he labors over the body. Music sneaks in, approximating a heartbeat.)

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(Song: [6] “The Lab.”)

VICTOR. (Softly:) It’s alive.

(On-stage, the ensemble has dispersed to suggest a Greek CHO-RUS. We hear VICTOR’s furious writings in his journal in voiceover:)

VICTOR. (Voiceover:) One fifteen A-M. The first sign of animation.

CHORUS. DeaTH IS NO MORe

VICTOR. (Voiceover:) Pulse—fifty-six beats per minute. Weak but steady.

CHORUS.a MaN COlleCTeD FROM FRaGMeNTSwHaT COUlD He THINK OR ReMeMBeR?

VICTOR. (Voiceover:) eyes… dilated… pulse… weakening…

CHORUS. OR IS He MeRely aN aNIMal?

VICTOR. Can you hear me?! live, damn you!

(Still no movement at all from the CReaTURe.)

VICTOR. (Voiceover:) Pulse—thirty-two… barely measurable…

CHORUS. …lIKe lIFe ITSelF

(Ad lib: whispering.)

IT SeeMS DeaTH IS NOT yeT QUITe DeFeaTeDITS SPeCTRe lOOMS OVeR THIS CReaTION

VICTOR. (Voiceover:) The specimen exhibits only the faintest and most clinical signs of life…no cognition whatsoever. He’ll likely be dead within the hour.

CHORUS.MINOR SUCCeSSeS aRe NOT THe STUFF OF wHICHHISTORy IS MaDe

(VICTOR emerges from the lab, defeated.)

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VICTOR.wHaT COUlD HaVe GONe wRONG?I MUST ReVIew eVeRy STeP IN My MIND

(He closes the door behind him, shutting the CReaTURe’s lifeless body away. Now in the adjacent apartment, exhausted, he picks up a letter from his desk—one of many that lies there.)

aND yeT aNOTHeR RIDDle TO UNwIND

Scene 6

(As VICTOR reads the letter, on another part of the stage we see elIZaBeTH sitting at a small table in her bedchamber in Ge-neva, writing.)

(Song: [7] “Dear Victor.”)

ELIZABETH.DeaR VICTOR… SweeT VICTORI PRay THIS FINDS yOU wellPleaSe KNOw THaT we MISS yOUMUCH MORe THaN wORDS CaN TellaRe yOU CONSUMeD IN STUDy?yOUR THOUGHTS a wORlD away?FROM all OF THOSe wHO lOVe yOUaND HOPe FOR wORD eaCH DayI KNOw yOUR PaSSION’S FURy…THe DReaMS yOU MUST PURSUeI ONly aSK FOR COMPROMISePleaSe RealIZe… My DReaMS BeGIN wITH yOU

VICTOR.elIZaBeTH IT PaINS Me SO TO HaVe TO KeeP THISSeCReT FROM yOUI’M SO aSHaMeD THaT THIS IS all My MaNy MONTHSOF wORK HaVe COMe TOHOw I lONG TO Feel yOUR waRM eMBRaCeaND KIll THIS FaIlURe’S POISONeD TaSTe

ELIZABETH.DeaR VICTOR… PleaSe aNSweR…wITH wORDS THaT ReaSSURe

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VICTOR. I HaVe NO wORDS TO SOOTHe HeR

ELIZABETH.My HeaRT ClINGS TO MeM’RIeSyeT lONGS FOR SOMeTHING MORe

VICTOR. aND NO STReNGTH TO FIND THeM NOw

ELIZABETH.wHeRe IS THe MaN wHO HelD MeaND MaDe Me Feel HIS FIRe?aND DOeS yOUR SIleNCe PROVe IT TRUeI’Ve lOST yOU TO yOUR ONly TRUe DeSIRe

VICTOR.aNOTHeR MaN wOUlD GlaDly NeSTle INHeR lOVING aRMS FOReVeR

ELIZABETH. DeaR VICTOR

VICTOR.yeT HeRe aM I, alONe aND lOSTINSIDe a FOOlISH, FaIleD eNDeaVORHaVe I GONe wHeRe NO MaN SHOUlD DaRe GO?

ELIZABETH. wHaT aRe yOU KeePING FROM Me?

VICTOR.eVeRy DReaM I SeeKJUST BeyOND My ReaCHwHaT IS MISSING, wHaT IS wRONG?

(Spoken:) letters from elizabeth…my father…Henry… why did I shut them out so? was it indifference…or shame?

ELIZABETH.DeaR VICTOR, wITHOUT yOUOUR HOUSe IS NOT a HOMeDeaR VICTOR, ReTURN TO USI MISS yOU SOI NeeD yOU SO

VICTOR. yOU MUST NeVeR KNOw…

(At that instant, a primal scream is heard from within the lab. We follow VICTOR as he races back into…)

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Scene 7

(Song: [7B] “Was It A Dream?”)

(…the lab. VICTOR is shocked to find the slab empty, the bloody sheet strewn across it. His eyes dart around the chamber, searching feverishly for the CReaTURe.)

VICTOR. waS IT a DReaM? …OR COUlD IT Be…?

(Spoken:) where…?!

IS GReaTNeSS STIll wITHIN ReaCH?…HIDING IN THe SHaDOwS?BUT wHy… wHy aM I SUDDeNly aFRaID…My BlOOD RUN COlD?

(Strange sounds emanate randomly from the darkness.)

(Spoken:) what was that!?!

a SOUND!…THeRe!…

(Suddenly, VICTOR tenses, the life draining from his face. The shadow of a giant figure falls over him, its arms outstretched, walk-ing slowly toward him. It is the CReaTURe.)

(Production Note: The CReaTURe can be off-stage for this se-quence, suggested by shadow-play or projections. Creative lighting and silhouettes can achieve a similar effect. The NY production did not employ any makeup to define the Creature, relying instead on these kinds techniques—and VICTOR’s reactions—to suggest his horrific appearance. Your production may interpret this sequence differently.)

VICTOR. (Spoken, a whisper:) No.

(Song: [8] “The Lab—Part 2.”)

wHaT HaVe I DONe?wHaT IS THIS BeaST?My SOle OBSeSSION FOR THeSe COUNTleSS DayS

(The CReaTURe emits a chilling, guttural sound.)

(VICTOR tenses.)

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I HaD ONly KNOwN HIMONly SeeN HIM aS THe SCUlPTOR SeeS THe ClayBUT NOw, TO See HIM THIS way

walKING TOwaRD Me…ReaCHING FOR Me…TOO HORRID TO BeHOlD,aND yeT THeRe’S SOMeTHING MORe…THe SMell OF DeaTH RISING FROM HIS eVeRy PORelIFeleSS, yeT alIVea THING NO HUMaN COUlD aBIDeI CaNNOT BeaR ITS FOUl eXISTeNCe ONe MOMeNTMORe!

(VICTOR rushes out of the lab, slamming the door behind him, shutting the CReaTURe inside. He paces about the apartment, panicked, in shock.)

(From the lab, we hear the CReaTURe pounding on the door, howling. VICTOR covers his ears and sinks to his knees.)

(At that moment, a voice from beyond the outer door:)

UNIV. OFFICIAL. (Offstage, spoken:) Frankenstein! what in the name of God is going on in there?!

VICTOR. THIS wReTCHeD CReaTURe IS a waSTe

UNIV. OFFICIAL. This laboratory is not your private domain!

VICTOR. My FaIlURe CaNNOT Be DISGUISeD

UNIV. OFFICIAL. I will notify the authorities if you do not unbar this door immediately!

VICTOR. My FaMIly’S NaMe wIll Be DISGRaCeD

UNIV. OFFICIAL. Frankenstein!!

VICTOR. INSTeaD OF laUDeD I aM SURe TO Be DeSPISeD

(With the CReaTURe still pounding madly at the door and howling in fury, VICTOR is wide-eyed with panic.)

(A moment of calm suddenly grips him. He knows what he has to do. He picks up a nearby lantern and sets the flame to the laboratory.)

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(Song: [9] “Burn the Lab / Dear Victor” (Reprise).)

(Soon, the entire scene is ablaze and the flames reach the door of the lab.)

(Production Note: This can be achieved with lighting effects. No actual fire is necessary.)

(Moments later, the CReaTURe’s screams are heard from behind the door as the fire engulfs the laboratory.)

(VICTOR moves to flee, but is stopped by the CReaTURe’s voice from beyond the door:)

CREATURE. (Barely understandable, yet unmistakable:) Frank…en…stein!!

(VICTOR, shocked at the CReaTURe’s first words, turns back—but the fire separates them.)

(VICTOR turns and flees. The flames recede as blackness envelops the lab.)

VICTOR.IS IT POSSIBle THaT wReTCHeD BeaST HaDONly STaRTeD leaRNING?HaVe I leFT My GReaTeST wORK aND all My DReaMSBeHIND Me, BURNING?I’Ve DONe wHaT I MUSTBaCK TO aSH aND DUSTTHaT wHICH NeVeR SHOUlD HaVe lIVeD

(Blackout.)

Scene 8

(On another part of the stage, elIZaBeTH appears:)

(Title Slide: GENEVA.)

(Song: [10] “The Hands of Time.”)

ELIZABETH.SO MaNy wORRIeD MONTHS

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wITHOUT a SINGle leTTeRwON’T yOU allay OUR FeaRS My DaRlING?

(The lights cross-fade to HeNRy:)

HENRY.SUCH TROUBlING NewS we’Ve HeaRDGReaT FIReS aND aCCUSaTIONSaND yeT FROM yOU, My TRUSTeD FRIeNDTHeRe’S SIleNCe

BOTH. RaCING eVeR TOwaRD TOMORROw, wHy DO we?

HENRY. COUlD He NOT STay HeRe aT OUR SIDe?

ELIZABETH. COUlD I NOT HOlD HIM IN My aRMS FOReVeR?

HENRY. COUlD we CHaNGe THe wORlD…

ELIZABETH. …aND SOMeHOw leaVe THINGS JUST aS THey’Re DeSIGNeD?

BOTH.wOUlD THaT Be a CRIMe?IF we TRIeD TO STay THe HaNDS OF TIMe

(Title Slide: INGOLSTADT.)

(VICTOR re-appears and the immediate aftermath of the fire plays out. He is seized by an angry mob as the building that housed his laboratory burns in the distance.)

MAN. It was THaT man! Frankenstein!

WOMAN. I saw him running from the courtyard!

UNIV. OFFICIAL. what were you doing locked up in that labora-tory?!

(They all shout angry accusations at VICTOR as he collapses into their midst.)

(Cross-fade to Geneva, where wIllIaM is composing a letter, his nanny JUSTINe at his side:)

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WILLIAM.SO MaNy yeaRS aPaRTI BaRely KNOw yOU, VICTORwHaT IF we NeVeR MeeT aGaINMy BROTHeR?

JUSTINE.a TIMe FOR eVeRyTHINGyOU’ll leaRN SweeT MaSTeR wIllIaMTHe SIleNT BONDS we SHaRe wITH FaMIlyaRe THOSe THaT SHall eNDURe

BOTH. FOR alwayS

(Cross-fade back to Ingolstadt, where VICTOR lies in a hospital bed, wide-eyed with madness. A PHySICIaN appears nearby:)

PHYSICIAN. The patient is in a state of mental shock. any inquests into the events at the University will have to await his recovery.

(In Geneva, elIZaBeTH and HeNRy are seen again, as are wIllIaM and JUSTINe. It is as if they can “see” VICTOR, but he cannot see them.)

ELIZABETH & HENRY.RaCING eVeR TOwaRD TOMORROw, wHy DO we?

ELIZABETH. yOUR FaTHeR lONGS FOR yOUR eMBRaCe

JUSTINE.a yOUNG BOy NeeDS a BROTHeR’S HaND TO GUIDe HIM

ELIZABETH. ReaCH INTO THe PaST

HENRY. MaKe THe wORlD THe way IT waS BeFORe

ALL.leT THe DayS UNwINDReVeRSe THe eVeR-TwISTING HaNDS OF TIMe

(From his hospital bed, VICTOR lashes out at the darkness.)

VICTOR. (Ad lib:) No… no…get away…DeVIl…DeMON!

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(Overlapping:)

HENRY.wHeRe HaVe yOU GONe My CHIlDHOOD FRIeND?walK wITH Me aGaIN

ELIZABETH.THe TwISTING HaNDS OF TIMe?THey TURN IN ONe DIReCTIONaND DRaw US eVeR TOwaRD TOMORROw

WILLIAM.wHeN wIll yOU ReTURN?I FeaR we’ll NeVeR MeeT aGaIN

JUSTINE.a FaM’ly laSTS FOReVeRa BROTHeR’S HaND

ALL.THe TwISTING HaNDS OF TIMeTHey TURN IN ONe DIReCTIONaND DRaw US eVeR TOwaRD aNOTHeR DaySO NeaR aND yeT SO FaR

ELIZABETH. My DaRlING…

HENRY. COMPaNION…

JUSTINE. GOOD MaSTeR…

WILLIAM. DeaR BROTHeR…

(They recede to reveal FaTHeR, alone, pained with worry.)

(VICTOR is also seen, alone in his hospital bed—catatonic.)

(Song: [11] “Your Father’s Eyes.”)

FATHER.a yOUNG MaN IS SIleNTly CRyING IN FeaRNO ONe TO aID HIM, FOR NOBODy HeaRSeXCePT FOR aN OlD MaN a COUNTRy aPaRTHIS FaTHeR alONe KNOwS THe PaIN IN HIS HeaRT

I KNOw, My SON, yOU aRe TROUBleD TODayyOU’Ve JOURNeyeD TOO FaR

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aND PeRHaPS lOST yOUR wayyOU wONDeR IF eVeR yOU’ll FIND yOUR way HOMeBUT aS lONG aS I BReaTHeyOU aRe NeVeR alONeHOweVeR FaR yOU ROaMOR wHaT yOU DOTHeRe alwayS IS ONe PeRSON wHO BelIeVeS IN yOUIT MaTTeRS NOT THe ROaD yOU CHOOSeFOR ONe THING yOU CaN NeVeR lOSeyOU’ll alwayS Be THe lIGHT THaT SHINeSwITHIN yOUR FaTHeR’S eyeS

(VICTOR, now recovered, appears before a UNIVeRSITy OF-FICIal, who looks upon him distrustfully:)

UNIV. OFFICIAL. I’m afraid there is insufficient evidence to charge you with any misconduct, Frankenstein. you may resume your stud-ies here, but I strongly urge you to pursue a path that will not result in any further destruction.

VICTOR. (Humbly:) Thank you, sir. Rest assured, I have no desire ever to return to science.

(They both exit. FaTHeR’s focus shifts to wIllIaM, who is sud-denly before him:)

FATHER.lIFe CaN Be HaRD, IT CaN BReaK yOU IN TwOeaCH TURN OF THe CaRDCaN BRING HeaRTaCHe aNewaND eVeN THe STRONGeST OF MeNwITHeR UNDeR ITS HaNDBUT IT SOMeTIMeS CaN eaSe THe PaINTO KNOw THaT SOMewHeRe IN THIS wORlDTHeRe’S SOMeONe wHO CaReSONe MaN UNDeRSTaNDS

(wIllIaM rises and hugs his father, who is now fighting tears. Focus shifts to elIZaBeTH, also in tears. Suddenly, wIllIaM exits.)

ELIZABETH. I pray that this letter reaches you, Victor, for you must return to us at once. expect tears and sorrow on your arrival. For our beloved young william…your brother…is dead.

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FATHER.THOUGH yOU May lOSe THe wORlDaND all yOU’Ve GaINeDyOUR FaTHeR wIll Be THeRe TO SHaRe yOUReVeRy PaINwHeTHeR yOU HaVe lOST OR wONFOReVeR yOU wIll Be My SONaND alwayS Be THe lIGHT THaT SHINeSwITHIN yOUR FaTHeR’S eyeS…wITHIN yOUR FaTHeR’S eyeS

(elIZaBeTH continues her letter. FaTHeR recedes.)

ELIZABETH. and our fortune grows worse still… It is believed that william was…murdered…by…

(JUSTINe appears, her face a mask of shock.)

JUSTINE. Justine Moritz, william’s governess, and our faithful ser-vant. She was found with the locket that I had given to william…the locket used to strangle him…with blood upon it. She protests her innocence, but she is not believed, for she claims to have seen…

(HeNRy joins them, equally distraught. During next, VICTOR re-enters in darkness. elIZaBeTH and JUSTINe each exit in darkness after their respective speeches.)

HENRY. …some kind of monster…a fiend from some other world—the talk of a madwoman. Surely someone must know something that can explain this travesty… Victor.

(As HeNRy exits, lights suddenly up on VICTOR. He is gripped by a deep sense of dread.)

VICTOR.IT lIVeS! aND SOMeHOw HaS FOUND USTHe FIeND THaT HaS HaUNTeD My NIGHTMaReS

(A great flash of lightning reveals a hulking silhouette behind VICTOR:)

(Song: [12] “The Creature’s Tale, Part 1.”)

CREATURE.yOU aRe THe FIeND aND I BeaR yOUR CURSeTORN FROM My GRaVe TO aPPeaSe yOUR DeSIGNSaND THeN yOU aBaNDONeD Me—leFT Me FOR DeaD

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(Spoken:) I have searched for you for a very long time.

VICTOR. you…you’re alive.

CREATURE. Despite your efforts to the contrary.

VICTOR. So many months. So many miles. How? why??

CREATURE.THe TIMe HaS COMe TO aNSweR FOR yOUR SINSTHe Day OF JUDGMeNT IS UPON yOU

VICTOR. I will not hear you! Begone! Or fight me until one of us is dead!

CREATURE. you will hear me well.

FOR IT IS yOU THaT IS THe aUTHOR OF My MISeRyyOU wIll lISTeN TO My TaleeVeRy HaRROwING DeTaIlTHeN yOU wIll KNOw wHyFOReVeR I CURSe aT yOUR NaMe

(Reprising his first spoken cry in the laboratory:)

FRaNK-eN-STeIN!!!

Scene 9

(Song: [13] “The Waking Nightmare.”)

(The flames return briefly as the CReaTURe flashes back to the moments just after his escape from the burning lab. He is panicked and near collapse. All the while, VICTOR watches and listens to him with horrified fascination.)

CREATURE.all THaT I KNOw… all I ReMeMBeRRIPPeD By THe KNIFe, I aM TORN FROM My SleePTHeRe weRe NO DReaMS, NO TORTUReD MeMORIeSONly a SIleNCe eTeRNal aND BlISSFUlly DeePaM I alIVe OR IN PURGaT’Ry? aM I INSaNe?wHaT IS THIS aNIMal GNawING INSIDe OF My BRaIN?

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(Over the previous, the CReaTURe stumbles into a gathering of townspeople. Upon seeing him, they scream and shrink back in fear. One man raises a rifle and fires at the CReaTURe, striking him in the shoulder before running off with the others.)

wHaT DO THey FeaR? wHy aM I HUNTeD?wHO IS THIS STRaNGeR INSIDe OF My SKIN?BROKeN aND SCaRReD, CHaRReD lIKe aN eMBeRaM I CONDeMNeD THOUGH ICaNNOT ReMeMBeR My SIN?wHaT HaVe I DONe TO DeSeRVe SUCH aSeNTeNCe IN Hell?BORN aS a DeMON, a GHOUl FROM a NIGHTMaRe,yeT ONe wHO STIll SUFFeRS aND SCaRSlIKe a HUMaN aS well

NOw HeRe I STaND—HalF OF a MaNwONDeRING wHy I DRaw BReaTHI’M HeRe IN THe waKING NIGHTMaReaND eVeRy MOMeNT TaSTeS OF DeaTH.

(A horde of people are seen, and in a violent choreography we see them tormenting the CReaTURe.)

HORDE.yOU’Re a BeaST TO Be FeaReDDO NOT DaRe TO DRaw NeaRyOU’Re aN OBJeCT OF SHaMewITHOUT SOUl OR a NaMeNOTHING THaT yOU CaN DOwIll DISGUISe wHaT IS TRUeGOD HaS DaMNeD yOU aT BIRTHaND By HeaVeN we’ll TRaCK yOU aND HaUNT yOUaND BaNISH yOUR SOUl FROM THIS eaRTH

CREATURE.lOST aND alONeCOlDeR THaN STONeKNOwING SO DeeP IN My BReaSTTHaT HeRe IN THe waKING NIGHTMaReaND wHaTeVeR Hell awaITS THeRe

HORDE. (Over previous:)OBJeCT OF SHaMeNO SOUl OR NaMeHeaVeN HaS DaMNeD yOU aT BIRTH

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yOUR KIND HaS NO PlaCe BUT THe GRaVeyOU HaVe NO SOUl THaT CaN Be SaVeDCReaTURe.yeS, HeRe IN THe waKING NIGHTMaReall I wIll FIND IS FeaRaND all I’ll eVeR HeaRaRe THe SCReaMS OF THeIR TeRROR aND SCORNwHIle eVeRy MOMeNT TaSTeS OF DeaTH

Scene 10

(VICTOR continues listening intently as the CReaTURe stands, trembling, remembering the terror of his first hours.)

(Song: [14] “The Creature’s Tale, Part 2.”)

CREATURE.aND I HeaR, lIKe a GHOST IN My MINDeCHOeS aND FRaGMeNTS OF MeMORywITHOUT wORD OR a SOUNDwaS I alIVe ONCe BeFORe?waS I ONCe HUMaN lIKe THeM?

(Lights up to reveal an old BlIND MaN seated on a wooden stool. The CReaTURe looks upon him with fear.)

aND COUlD I aGaINwalK IN THe lIGHT aND GOOD GRaCeS OFwOMeN aND MeN?

FORaGING FOR SHelTeRI SOON FOUND a COTTaGe NeaRI DID NOT DaRe aPPROaCH TOO ClOSeReMeMBeRING My FeaRFOR INSIDe THeRe waS—

(A baby’s cry. The BlIND MaN is joined by his daughter, aG-aTHa, a simple, peasant woman in her 20s. She is carrying her infant child.)

AGATHA. But how will we survive the winter, Father?

BLIND MAN. God will provide for us…somehow.

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CREATURE.aTTaCHeD THeRe waS a wOODSHeDaND I HID MySelF INSIDewaITING FOR THe DaywHeN I MIGHT lIVe aMONG THeIR KIND

(The CReaTURe hides in an attached woodshed, where he can watch them through a crack in the wall.)

AGATHA. I do not trust this mysterious “Good Samaritan,” father. Something is wrong about it.

BLIND MAN. A kind stranger leaves food and firewood by our door. That is not a cause for mistrust. Surely he must be a friend.

(The CReaTURe reverts to his former self, barely able to form words:)

CREATURE. (To himself:) “F-f-friend?”

(Song: [15] “The Music of Love.”)

BLIND MAN. Trust is a virtue, my child. and surely one that God rewards.

(The BlIND MaN picks up his violin and begins playing a lul-laby for the crying child. aGaTHa rocks her baby in her arms.)

AGATHA. Ssshhhhhh. everything will be all right.

(She begins to sing to the baby:)

away away, COMe away wITH MewHeN eVeNING FallS aND SHaDOwS FleeCOMe STay, My DeaR, COMe STay wITH Mewe’ll KeeP yOU SaFe aND waRMwe’ll KeeP yOU FaR FROM HaRMNO TeaRS CaN FIND yOU HeReBlIND MaN.we lIVe IN SIMPle HaRMONyBOTH THe SONG OF lIFe IS all we NeeDTHe MUSIC OF lOVeTHe MUSIC OF lOVe

away, SweeT CHIlD, COMe away wITH MeDeMONS aND DRaGONS, leT THeM all Be

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TOMORROw’S wORRIeS all wIll KeePwe HaVe eVeRyTHING we NeeDTHe SIMPle THINGS INDeeDa SONG TO BRING yOU SleeP

CREATURE. (Huddled alone in the shed:)FOR THe FIRST TIMe PaIN waSHeD awayFOR THe FIRST TIMe I Saw a wayTHeRe MIGHT Be a PlaCe FOR Mea PlaCe wITH a FaMIlylOVe aND SHelTeR FOR all My DayS

BLIND MAN & AGATHA. we lIVe IN SIMPle HaRMONy

CREATURE. KeeP Me SaFe aND waRM

BLIND MAN & AGATHA. THe SONG OF lIFe IS all we NeeD

CREATURE. KeeP Me FaR FROM HaRM

AGATHA. MUSIC… MUSIC… PReTTy lITTle MUSIC

BLIND MAN.away, away… COMe away wITH MeSTay… STay… COMe STay wITH Me

CREATURE.MUSIC aND lOVe… GIFTS FROM aBOVeMUSIC aND lOVe

ALL. THe MUSIC OF lOVe

CREATURE. Finally… peace.

AGATHA. THe MUSIC OF lOVe

Scene 11

(aGaTHa gently places the baby in the cradle and exits.)

CREATURE. I watched and listened to them for months. The sounds falling from their lips were suddenly…words…with mean-ing. each moment near them would ignite a spark in my mind, as if

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embers long cold were suddenly alive again. I felt…human. But was I human enough?

(The CReaTURe is now alone in the cottage with the BlIND MaN. He is in two realities at once: reliving his encounter with the BlIND MaN while he tells it to VICTOR:)

BLIND MAN. How grateful I am to finally speak with the author of our good fortune.

CREATURE. One day, I gathered the courage to approach the old man. He could not see me—so was spared the horror. But…

BLIND MAN. (Continuous:) …when my daughter returns, I am cer-tain she will welcome you into our home as a friend, just as I have.

(Song: [16] “Death of the Blind Man.”)

CREATURE. “Home…” He welcomed me “home.” He called me… “friend.” I…loved them…these perfect people. I can…love.

VICTOR. Then why do you stand before me today? what fate befell this good family?

(The CReaTURe ignores VICTOR’s question, lost in the memo-ry. He picks up the Blind Man’s violin, gazing at it with wonder.)

CREATURE. He made music for me.

(We hear the beginnings of a happy melody played on a solo violin.)

This wonderful man made music for me…and a home. Thank you, my friend. Thank you…thank you…

(The CReaTURe clutches the violin to his chest, embracing it. Suddenly the BlIND MaN tenses, as if locked in the CRea-TURe’s death grip.)

BLIND MAN. Please… no…

(The music begins to turn dark as the CReaTURe grips the vio-lin ever tighter.)

CREATURE. I have found paradise. I am…home.

(We hear the baby start to cry.)

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BLIND MAN. Stop! you are…h-hurting me!

(The CReaTURe begins to weep as pain of the memory floods back. Still he embraces the violin, never wanting to let go.)

(Suddenly, the music stops. The BlIND MaN freezes. All is deathly quiet. Sobbing, the CReaTURe lowers the violin gently to the floor, as lights go down on the BlIND MaN.)

CREATURE.wHaT KIND OF MONSTeR KIllS THe SOUl OF KINDNeSSBy eMBRaCING HIM wITH lOVe?SPeaK TO Me, My FRIeND… My ONly FRIeNDDO NOT aBaNDON MeDON’T leaVe Me IN THIS HeaRTleSS wORlD alONe

(aGaTHa returns, alarmed by the sound of her father’s screams:)

AGATHA. Father? are you all ri—? (Seeing a stranger she is suddenly frightened:) who are y—?

(The CReaTURe turns to her and she first sees his face. Her eyes widen with overwhelming terror.)

(Ad lib, in fragments, barely audible:) Dear God…what…what are you? …the devil himself…please…spare my…my child…my father… no…

(She inches her way to the cradle and grabs the baby. The CRea-TURe moves toward her—a pleading gesture.)

(She recoils and screams, then runs off. Her scream echoes forever in the Creature’s mind and he covers his ears in agony.)

Scene 12

(Song: [17] “The Creature’s Tale, Part 3.”)

CREATURE.wHy DID yOU MaKe MeMONSTROUS aND VIle?!a MeRCHaNT OF SORROw, aN aGeNT OF DeaTH!

VICTOR. Don’t you understand?! I was trying to erase the pain and sorrow of—

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CREATURE. (Cutting him off:)I KNOw TOO well yOUR VaINGlORIOUS PlaNSTITCHeD Me TOGeTHeR FROM GallOwS aND GRaVeSDID yOU Really THINK THaT yOU COUlD MaSTeR

lIFe aNDDeaTH lIKe yOU weRe GOD?

VICTOR. (Shocked:) How…? How do you know these things??

(The CReaTURe reaches into the pocket of his coat and re-trieves…Victor’s laboratory journal.)

CREATURE. Have you forgotten this…?

VICTOR. My journal…

CREATURE. As I fled the flames, I shielded myself with your cloak—and found this within. Diagrams. Instructions. your every dark scheme writ in your own hand. Through everything, I clung to it. But now with the ability to understand. I learned the truth of what I am—and who is to blame.

I SwORe THaT I wOUlD HaVe ReVeNGeaND SeT TO TRaCK yOU DOwNI DISCOVeReD FRaNKeNSTeIN’S a NaMeOF GReaT ReNOwNaND FOUND yOU HaD a FaMIly…

(wIllIaM and JUSTINe enter, running playfully and laugh-ing.)

JUSTINE. Come back here, william! why will you never listen to me?!

WILLIAM. Catch me if you can!

CREATURE.SUCH a PRIV’leGeD wORlD waS yOURSwHIle MINe waS lIVeD IN SHaMeBUT wHaT IF all yOUR PReCIOUS GIFTSweRe RIPPeD away aND TORN aPaRTMIGHT THeN yOU KNOw My PaIN?

(The CReaTURe and VICTOR recede into the darkness, leaving wIllIaM and JUSTINe alone, sitting together on the ground…)

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Scene 13

(wIllIaM becomes preoccupied with an object in his hand—a girl’s locket.)

JUSTINE. It was very generous of Miss elizabeth to part with such a prized possession.

WILLIAM. It has a picture of my mother.

(He shows the picture to JUSTINe.)

JUSTINE. you have her eyes.

(wIllIaM studies the photo.)

WILLIAM. (To no one in particular:) why is that? That children end up with parts of them that look like their parents?

JUSTINE. well…God always makes each baby look a little like his mommy and daddy so that the stork is certain to make the delivery to the correct house.

(wIllIaM slowwwwly turns to her with a deadpan face as if to say “You’ve got to be kidding.” He knows the real story.)

JUSTINE. (Totally flustered, now:) well…perhaps some…“subjects” are better left “un-explored,” Master william.

WILLIAM. But Victor says that every question must be asked. and I agree.

(Song: [18A] “Why? (Part 1).”)

WILLIAM.Tell Me wHyDOeS THe BReeZe BlOw?wHy DO BOTH THe FlOweR aND THe weeD GROw?THeN Tell Me wHy DO MeN FIGHT waRS?wHy DOeS GOD eVeN CaRe?wHy DOeS He lISTeN TO OUR PRayeRS?DOeSN’T He alReaDy KNOw wHaT we’Re PRayING

FOR?

JUSTINE.CURIOUS, lITTle BOyNO wONDeR yOU’Re yOUR FaTHeR’S JOy

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NOw, NOT aN eDUCaTeD GIRl aM IBUT I KNOw THe HaRDeST QUeSTIONS BeGIN wITH“wHy?”

WILLIAM. all right, then…

Tell Me HOw DO THe BIRDS GO?aND JUST HOw DO THey GeT alONG wITH BeeS SO?

JUSTINE. HOw DO yOU KNOw wHeN yOU’Re IN lOVe?

(wIllIaM frowns at this notion and makes a “YUCK!” face.)

WILLIAM. HOw DO yOU KNOw JUST wHO TO TRUST?

JUSTINE. “whom.”

WILLIAM. HOw DOeS a JUSTICe GeT SO JUST?

BOTH.HOw COUlD we DeSeRVe all THe THINGS we’ReDReaMING OF?

(He displays the picture inside the locket to JUSTINe.)

WILLIAM. DO I Really lOOK lIKe My MOTHeR?

JUSTINE. yOU’Re aS INQUISITIVe aS yOUR BROTHeR

WILLIAM. DO yOU lIKe BeING My NaNNy?

JUSTINE. IT’S a FaR MORe CHalleNGING JOB THaN MaNy

WILLIAM. wHy, JUSTINe, DO yOU TeaSe Me?

JUSTINE. I DON’T KNOw, IT SeeMS TO PleaSe Me

WILLIAM.CaN’T yOU See THROUGH Me By NOw?CaN’T yOU Tell? HaVeN’T yOU KNOwN?I THINK OF yOU aS IF My OwNyOU’Ve NO GReaTeR CHaMPION THaN IJUST ReMeMBeR THaT I lOVe yOUaND NeVeR QUeSTION HOw…OR IF…OR…wHy

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(Song: [18B] “Why? (Part 2).”)

(The sharp rap of judge’s gavel is heard. A MaGISTRaTe ap-pears and looks down upon JUSTINe sternly.)

MAGISTRATE. Tell the court what happened next, Miss Moritz.

(The CReaTURe appears behind them. They cannot see him, but he is ever-watching and moves among them freely. He gazes upon wIllIaM.)

CREATURE. another child of the Frankensteins…

JUSTINE. we were playing a game. He ran off into the woods. I searched for him all night!

CREATURE. will he one day suffer the shame of his brother’s foul deeds…or repeat them?

VICTOR. leaVe HIM Be! He HaS NOT wRONGeD yOU

CREATURE. wIllIaM, wIll yOU Play wITH Me?

WILLIAM. wHO aRe yOU, SIR? DO yOU KNOw Me?

CREATURE. I KNOw TOO well yOUR wReTCHeD FaMIly

(wIllIaM sees the CReaTURe’s face and recoils. He runs off, frightened.)

MAGISTRATE. Then how do you explain, woman, the bloody lock-et found on your person?!

JUSTINE. I told you… I saw some kind of demon! It is responsible, not I!

(The MaGISTRaTe is now backed by a gallery of onlookers, call-ing for Justine’s conviction.)

VICTOR. wHy DID yOU DO IT? KIll a CHIlD?

CREATURE. wHy DID yOU leaVe Me THeRe TO DIe?

VICTOR. SO FUll OF wONDeR, FUll OF PROMISe

CREATURE. HaVe yOU FORGOTTeN? SO waS I!

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(As the gallery ad-libs cries for blood, elIZaBeTH appears, along with VICTOR’S FaTHeR.)

JUSTINE. I am innocent, I swear it!

ELIZABETH.VICTOR, NO!I KNOw THaT SHe lOVeD THaT BOy

CREATURE. another fair face that looked upon me only with re-vulsion.

ELIZABETH.HeaVeN, PleaSe!JUSTINe’S lIKe a SISTeR TO US

CREATURE. were she only like me. One of my kind.

FATHER.VICTOR, My GOD!HOw CaN THIS Be SO?

(HeNRy enters and stands near elIZaBeTH and FaTHeR.)

ELIZABETH. VICTOR, HOw?! I KNOw IT CaNNOT Be TRUe

HENRY. SOMewHeRe THeRe MUST Be a wITNeSS

ELIZABETH. THeRe MUST Be SOMeTHING yOU CaN Say

FATHER & HENRY. SOMeONe KNOwS THe TRUTH

ELIZABETH. SOMeTHING yOU CaN DO

GALLERY. wHO SPeaKS FOR THe CHIlD?!

CREATURE. I made sure that the evidence would convict her of the boy’s murder. Don’t you think that clever of me, Victor?

ELIZABETH. wHy IS THIS HaPPeNING?

MAGISTRATE & GALLERY. wHy DID yOU MURDeR THaT BOy?

FATHER. wHy My POOR wIllIaM?

MAGISTRATE & GALLERY. wHy SHOUlD we HeaR aNyMORe?

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HENRY. wHy wIll NO MaN SPeaK THe TRUTH?

ALL.wHy aRe yOU SIleNT wHIle INNOCeNTS SUFFeR aNDPay wITH THeIR lIVeS?!

(VICTOR can stand no more:)

VICTOR. (Screams in outrage.)

(Suddenly, he is alone with the CReaTURe once again.)

Scene 14

(VICTOR draws a pistol from his coat and aims it at the CRea-TURe, quaking with rage.)

(Unable to harm the CReaTURe, VICTOR lowers the gun.)

(Song: [19] “The Proposition.”)

VICTOR.I CReaTeD yOU wITH a NOBle PURPOSeTO FRee MaNKIND FROM THe FeaR OF DeaTHIF I HaD KNOwN IT wOUlD leaD TO SUCH BlOODSHeDI wOUlD NeVeR HaVe GIVeN yOU BReaTH

CREATURE.HaS IT NOT PIeRCeD yOUR BRIllIaNT MIND?OUR aCTIONS CaNNOT Be UNDONeI wIll RaIN FeaR UPON all yOUR KINDUNleSS…yOU NOw COMPleTe wHaT yOU’Ve BeGUN

(The CReaTURe seizes VICTOR by the throat. VICTOR is powerless to free himself or fight back.)

lISTeN CaReFUlly, VICTOR FRaNKeNSTeINI HaVe a PROPOSITION TO PReSeNT TO yOUyOU HaVe ONe CHaNCe TO ReDeeM yOURTRaNSGReSSIONSyOU HaVe ONe laST eXPeRIMeNT TO DO

(The CReaTURe releases VICTOR, who falls to the ground gasping for breath.)

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CREATURE.CReaTe a wOMaN TO SHaRe THIS STRIFeMaKe HeR aS VIle aS My DaRKeST PaINGRaNT Me THe JOy OF a KINDReD wIFeIN ReTURN… yOU SHall NeVeR See Me aGaIN

VICTOR.NeVeR! IMPOSSIBle! PRePOSTeROUS!yOUR SCHeMe IS OUTRaGeOUS! aBSURD!ONe MORe JUST aS MONSTROUS?I wON’T INFlICT SUCH HORROR ON THIS wORlD

CREATURE.wHaT’S wRONG, wHaT’S RIGHT?DO yOU DeCIDe?I’M MORe THaN BlOOD aND BONeI NeeD a MaTe… ONe MaDe aS II wON’T eXIST alONe

VICTOR.wHO aRe yOU TO MaKe DeMaNDS?wHO’S NOw TwICe a CRIMINalMy BROTHeR’S BlOOD UPON yOUR HaNDSaSKING Me TO SeRVe yOUR wIlla SeCOND BeaST TO BRING New TeRRORUPON THe yOUNG aND INNOCeNTI’ll NOT wIllINGly RePeaT My eRRORyOU wIll NOT GeT My CONSeNT

CREATURE.VICTOR, yOU COMPleTe THIS TaSKaND eND yOUR FaMIly’S MOURNINGIT’S THe laST I’ll eVeR aSKTHe BOy waS JUST a waRNING

CReaTe aNOTHeR wReTCH aS Ia lOVe I CaNNOT Be DeNIeDa SOUl CONTeNT TO lIVe BeSIDe MeI’ll TaKe My BRIDe aND RUN awaySOMePlaCe SaFe wHeRe we CaN STayFaR FROM MaN aND HIS INSaNITy

VICTOR.I THINK IT wRONG, I THINK IT SICKa CORRUPTION OF BIOlOGy

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CREATURE.BUT HeRe’S a CHaNCe TO MaKe IT RIGHTTO OFFeR aN aPOlOGy

VICTOR.COUlD I UNDO THe GReaT MISTaKe?eRaSe THe SORROw FROM My waKeNeVeR aGaIN TO FaCe THIS DeMONaND MIGHT I STIll aTTaIN THe DReaMwITH NOw a wOMaN aS THe MeaNS? BeSTOw New lIFeUPON My MISSION

(Behind them, another scene is forming: a crowd of people file in as if anticipating a macabre ceremony.)

VICTOR, CREATURE, & CROWD.lIFe eVeRlaSTING… ReaNIMaTION…a FlawleSS New DeSIGNTHe FINeST wOMaNIN all CReaTIONaND SHe wIll Be…

CREATURE. …MINe!

VICTOR.—BUT SOFTeR NOw, a FeMale FRaMeaN aGIle HaND’S ReQUIReDaND ONe wHO IS lOST May yeT Be ReClaIMeDReBORN OF HeaVeN’S FIRe!

(Behind them, JUSTINe is led onto a scaffold, her hands bound. The crowd gathers close to witness her execution.)

CREATURE.yeS, HeRe’S yOUR CHaNCeyOU wIll aTONeaND NeVeR See Me aGaINMaSTeR yOUR FaTe, aND FaCe THe UNKNOwNaND BRING THIS NIGHTMaRe TO aN eND

VICTOR.yeS HeRe’S My CHaNCe…I wIll aTONe

CREATURE. HeRe’S yOUR laST CHaNCe TO aTONe

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VICTOR. I’ll FIN’lly KNOw PeaCe…

CREATURE. …aS wIll I

VICTOR. ONe MORe leaP…

CREATURE. ONe leaP…

BOTH.…INTO THe UNKNOwNaND PURGe THe NaMe OF FRaNK-eN-STeIN!!

(The CReaTURe extends his hand to VICTOR. VICTOR paus-es, reluctant to accept.)

JUSTINE. I am innocent!!! Innocent!!!

(Blackout on JUSTINe as we hear the ominous crash [Sound ef-fect] of the trap door open, just as the CReaTURe seizes VIC-TOR’s hand, sealing their bargain.)

(Blackout.)

End of Act I

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ACT II

Scene 1

(At the grand, Frankenstein home, a group of finely-dressed GUeSTS is gathered for another happy—if somewhat somber—celebration.)

(Song: [20A] “A Happier Day (Part 1).”)

GUESTS.a HaPPIeR Day awaITS FOR allwHO HaVe eNOUGH FaITH TO FIND ITFOR eVeRy ClOUD THaT SCaRS OUR SKIeSa HeaVeN IS waITING BeHIND ITall OF OUR SORROwS aRe SIMPly THe TOllTHaT eVeRy TRaV’leR MUST PayUPON THe ROaD OF a THOUSaND TOMORROwSTHaT leaDS TO a HaPPIeR Day

(The music darkens as walTON, the sea captain, emerges from their midst to address us. Once again, we hear the howling winds [Sound effects] and see the harsh, white light of the frozen Arctic.)

WALTON. Captain Robert walton, in a letter to his sister, Novem-ber 9th, 1793. Though he was near death, gasping for each breath, Frankenstein continued his tale. as if he would not let go of life until the telling of it was complete. It pained me to hear it. So much sorrow. Such great suffering…

(VICTOR’S FaTHeR appears as walTON recedes. He address-es his guests:)

FATHER. …but there is a time for all things. To reap and to sow…to weep and to rejoice. and a time to put tragedy in the past. and today, my friends, we gather to celebrate Victor and elizabeth’s en-gagement.

(VICTOR and elIZaBeTH come forward and join hands hap-pily as the GUeSTS applaud them. FaTHeR raises his glass in a toast.)

GUEST 1. Hear, hear.

GUEST 2. To the Frankensteins.

ALL GUESTS. To the Frankensteins!

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GUESTS.all OF OUR SORROwS aRe SIMPly THe TOllTHaT eVeRy TRaV’leR MUST PayUPON THe ROaD OF a THOUSaND TOMORROwSTHaT leaDS TO a HaPPIeR Day

(HeNRy enters. His obvious distress stands in marked contrast to the celebration.)

(Song: [20B] “A Happier Day (Part 2).”)

HENRY.See THeM SMIleSee THeM laUGHSee THeM DaNCe aND CeleBRaTeI’D SHaRe THeIR PleaSURe IF I COUlDBUT TO PReTeND wOUlD DO NO GOODFOR SOMeTHING HeRe IS OUT OF PlaCe

HaUNTeD aND DISTaNTa MaN POSSeSSeDHe SHROUDS HIMSelF IN MySTeRyIT’S lIKe a SICKNeSS DeeP INSIDewHaT IS IT VICTOR NeeDS TO HIDe?wHaT IS THIS STRaNGe INSaNITy?

I’Ve BaRely SeeN HIM FOR THeSe MaNy MONTHSBUT I CaN GUeSS THe ReaSON wHySOMeHOw He FaIleD wRITe HIS DeSTINyaND NOw He MeaNS aGaIN TO TRy

NOT eVeRy MOUNTaIN MUST Be ClIMBeDNOT eVeRy SeCReT SHOUlD Be KNOwNaND THOUGH THe FUTURe May Be OURSIT ISN’T OURS alONe

(At some earlier point, VICTOR has exited.)

(elIZaBeTH now steps forward alone.)

ELIZABETH.I Feel THe wORlD IS FINally SlOwING DOwNaND I aM STaNDING ON MORe SOlID GROUNDTHe DReaM I FeaReD waS lOST IS FOUNDaT laST…OR SO IT SeeMSI KNOw THeRe’S SOMeTHING yOU STIll KeeP FROM Me

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yOUR wOUNDeD HeaRT yOU GUaRD wITH SeCReCywHaT CaN I DO TO HelP yOU TO SeeTHaT lOVe…HOlDS all we NeeD

I KNOw yOU’Ve DeMONS STIll TO Slaywe all HaVe ROaDS THaT we MUST walK alONeBUT IF yOU CaRe FOR Me, I PRayyOU’ll leaVe yOUR OTHeR wORlD BeHIND…UNKNOwN

HENRY. BOUND By a DUTy, I wIll TRy

ELIZABETH. I CaNNOT KeeP THIS FlaMe alONe

HENRY. TO ReSCUe VICTOR ON My OwN

ELIZABETH. THe ONly PaTH I’M leFT IS yOURS

HENRY. aND STeeR HIS PaTHway TO THe lIGHT

ELIZABETH. FOR yOU THe wORlD’S aN OPeN ROaD

HENRY. BeFORe He’S lOST TO THe UNKNOwN

ELIZABETH. FOR Me, a ROOM wITH BUT ONe DOOR

FATHER & GUESTS. (Over duet, following:)a HaPPy Daya DaRK, UNCeRTaIN ROaDalONG lIFe’S way

ELIZABETH. wIll SORROw Be THe TOll

HENRY. FOR all OUR SORROwS aRe THe TOll

ELIZABETH. THIS weaRy TRaVeleR MUST Pay…

HENRY. eV’Ry lIFe’S TRaVeleR MUST Pay

ELIZABETH. UPON a DaRK, UNCeRTaIN ROaD?

HENRY. UPON a DaRK, UNCeRTaIN ROaD

BOTH. TO a HaPPIeR Day

(HeNRy exits—a man with a mission. elIZaBeTH exits with FaTHeR.)

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GUESTS.a HaPPIeR Day awaITS FOR allwHO HaVe eNOUGH FaITH TO FIND ITFOR eVeRy ClOUD THaT SCaRS OUR SKIeSa HeaVeN IS waITING BeHIND ITall OF OUR SORROwS aRe SIMPly THe TOllTHaT eVeRy TRaV’leR MUST PayUPON THe ROaD OF a THOUSaND TOMORROwSTHaT leaDS TO a HaPPIeR Day

(The GUeSTS disperse to reveal…)

Scene 2

(…VICTOR in another laboratory.)

(Again, there is a body lying upon a table—this time with a clearly female form: the corpse of JUSTINe.)

(VICTOR hovers around the body uneasily, a scalpel in his hand.)

(Song: [21] “The Modern Prometheus.”)

VICTOR.SO STIll THIS SHaDOw OF a wOMaN lIeSTHe FUTURe SleePING IN HeR FORMDaRe I FRee HeR FROM HeR DeaTHQUICKeN NOw HeR PUlSe aND BReaTHaND MaKe HeR ONCe aGaIN Be BORN?

wHy DOeS THe KNIFe QUaKe IN My FINGeRS?wHy IS My HeaRT aN eMPTy SHell?wHaT IF SHe awaKeS lIKe HIM?MURDeROUS aND VIle wITHIN?aN aNGel BaNISHeD THeN TO Hell? NO!

I’Ve GONe TOO FaR TO TURN BaCK NOwTHe DaRKNeSS wIll NOT Be DeNIeDaND NOw THe MODeRN PROMeTHeUSIS GOING TO CReaTe HIS BRIDe

CREATURE. (Voiceover:) Do not delay, Victor, for I will be ever-watching and when your labors are through I shall appear to claim

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what is mine. Heed my wishes. you may be my creator, but I am your master—obey!

VICTOR.I’Ve GONe TOO FaR TO TURN BaCK NOwTHeRe’S NOTHING leFT I NeeD DeCIDeI aM THe MODeRN PROMeTHeUSaND ReaDy TO CReaTe THIS BRIDe

(HeNRy appears, having discovered VICTOR as he vowed to.)

HENRY.wHaT HeReSy HaVe yOU DeVISeD?IS THIS THe SCIeNCe yOU CONCeIVeD?wITH NaTURe’S eVeRy law DeFIeDwHaT GOOD COUlD eVeR Be aCHIeVeD?

VICTOR. (Resolute, yet uncertain:) The power of life and death is in my hands. I had erred before, at Ingolstadt. But this time will be dif-ferent. She will be different.

HENRY. The question is not what you can do. The question is what you should do.

VICTOR.I’Ve GONe TOO FaR TO TURN BaCK NOwaND SOON yOU’ll See I’M JUSTIFIeDI aM THe MODeRN PROMeTHeUSReaDy TO CReaTe THIS BRIDe

HENRY.MaN MUSTN’T TRy TO aCT lIKe GODPROMeTHeUS waS MeRely MyTHaND IF yOU TOy wITH NaTURe’S COURSeyOUR FaTe wIll Be THe SaMe aS HIS

VICTOR.I CaNNOT BelIeVe wHaT I aM HeaRINGa GReaT DISCOVeRy IS NeaRleSSeR MeN CaN waIT BeHINDPaRalyZeD OF HeaRT aND MINDBUT I aM NOT aFRaID TO DaRe

I’ll CHaNGe THe COURSe OF HISTORyPleaSe See BeyOND yOUR PeTTy FeaRSI waS ONCe a DReaMeR

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NOw I’M MaN’S ReDeeMeRwe’Re ON THe VeRGe OF New FRONTIeRS

(The CReaTURe appears, unseen to VICTOR.)

(All three parts below overlap:)

HENRY.CaN’T yOU See wHaT yOU’Ve BeCOMe?yOUR SCIeNCe IS INSaNITyyOU’Re NOT a MODeRN PROMeTHeUSyOU CaNNOT SaVe HUMaNITy

CREATURE.IT’S GONe TOO FaR TO TURN BaCK NOwMy wISHeS SHall NOT Be DeFIeDFOR NOw THe MODeRN PROMeTHeUSIS ReaDy TO CReaTe My BRIDe

VICTOR.SHe’S GOING TO Be PeRFeCTa GODDeSS HeRe ON eaRTHBeHOlD THe MODeRN PROMeTHeUSBeaR wITNeSS TO HeR BIRTH

(As the storm rises, we hear the voices of the CHORUS swelling with it.)

VICTOR. The destiny of humanity will not be stayed, Henry.

HENRY. I cannot allow you to destroy yourself. I will do everything in my power to see that this abomination is exposed—and brought to an end.

(HeNRy turns to exit, only to find himself in the shadow of the CReaTURe who looms menacingly in his path. He grabs HeNRy by the throat.)

VICTOR. NOOOOOOO!!!!!!

(HeNRy freezes and the lights go down on him.)

(A powerful lightning strike. The lights flicker and the buzz of elec-trical energy is deafening. The Bride suddenly sits bolt upright on the table. She gasps horribly for her first breath.)

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(Song: [22] “Another Like Him.”)

(For a moment, she appears as we would expect JUSTINe to. But soon it is clear that she is now something far more frightening; as if resurrection itself has turned her into something inhuman.)

(The CReaTURe looks upon her, seeing only his salvation, but VICTOR looks upon them both with horror.)

VICTOR.DaMN THIS FeVeR IN My MINDONCe aGaIN IT TURNeD Me BlINDI HaVe DelIVeReD aNOTHeR lIKe HIM TO ITS BIRTHI HaVe INFlICTeD eNOUGH OF a STaIN ON THIS eaRTH!

(VICTOR takes the scalpel in his hand and, with a cry of anguish, plunges it into the Bride’s back! Her body convulses, then slumps lifelessly.)

(Song: [23] “What Have You Done?”)

(VICTOR recoils, equally horrified by what he has created and what he has just done. The CReaTURe rushes to his fallen bride, and cradles her lovingly. He then looks to VICTOR with unbridled rage:)

(Cutting each other off, as in a heated argument:)

CREATURE. wHaT HaVe yOU DONe? yOU’Ve MURDeReD HeR!

VICTOR. yOU aRe THe MURDeReR!

CREATURE. lIaR! yOU PROMISeD TO—

VICTOR. I waS a FOOl TO HaVe—

CREATURE. wHaT OF yOUR DeSTINy?

VICTOR. yOU aRe THe CHIlDReN OF Hell!

CREATURE. yOUR CHIlDReN aS well

VICTOR. yOU’Re a FIeND

CREATURE. —THaT yOU MaDe

VICTOR. a MISTaKe

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CREATURE. —THaT yOU PlaNNeD

VICTOR. yOU MUST DIe!

(For an instant, VICTOR has a thought about trying to kill the CReaTURe as well, but the CReaTURe suddenly stands men-acingly:)

CREATURE.—IT IS yOUwHO SOON wIll Feel DeaTH’S ICy HaND!

(We hear a memory of the happy refrain of the party GUeSTS:)

GUESTS. (Off-stage:)a HaPPIeR Day awaITS FOR allwHO HaVe eNOUGH FaITH TO FIND ITFOR eVeRy ClOUD THaT SCaRS OUR SKIeSa HeaVeN IS waITING BeHIND IT

all OF OUR SORROwS aRe SIMPly THe TOllTHaT eVeRy TRaV’leR MUST PayUPON THe ROaD OF a THOUSaND TOMORROwSTHaT leaDS TO a HaPPIeR Day

CREATURE. (Over previous:) Hear this, Victor Frankenstein. From this moment forth, your destruction will be my sole occupation. I will be with you on your wedding-night.

(In an instant, the CReaTURe is gone, leaving VICTOR trem-bling with fear and hatred.)

VICTOR. If that is to be the moment of our final battle, then let it come.

Scene 3

(elIZaBeTH appears in a wedding dress. She is trying to appear happy…yet cannot.)

(She and VICTOR occupy the stage in separate places and times. They speak not to each other but as if voicing innermost thoughts:)

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(Song: [24] “The Hands of Time” (Reprise).)

ELIZABETH.OUR Day IS alMOST HeRewHeRe IS THe JOy IT PROMISeD?wHaT IS THIS Pall UPON OUR wORlD?DeaR VICTOR…

VICTOR.THe Day IS alMOST HeReaND eITHeR He OR I wIll FallNO MaTTeR wHICH, IT wIll Be OVeR THeNDONe ONCe aND FOR all

(VICTOR‘S FaTHeR appears on another part of the stage.)

(Song: [24B] “Workings” (Preamble).)

FATHER. alphonse Frankenstein kindly requests the honor of your presence at the wedding of his ward, elizabeth lavenza to his son, Victor.

VICTOR. …and if I survive, then I will tell her all. But not before.

ELIZABETH.He’S HeRe wITH Me, yeT SeeS Me NOTHe lOVeS, BUT CaNNOT GIVeHe SeeKS THe MySTeRIeS OF lIFewITHOUT FIRST KNOwING wHaT IT MeaNS TO lIVe

(Song: [25] “The Workings of the Heart.”)

ELIZABETH.a BRIllIaNT MIND… SUCH GIFTeD HaNDS…a MaSTeR OF HIS aRTaND yeT He STIll CaN’T UNDeRSTaNDTHe wORKINGS OF THe HeaRT

yOU NeeD NOT FaCe THIS wORlD alONeOR KeeP yOUR SeCReTS lOCKeD INSIDelOVe CaN weaTHeR aNy STORMIF yOU TRUST IN yOU aND I

HOw CaN we lIVe, HOw CaN we lOVeOUR SOUlS a wORlD aPaRT?

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yOUR NOBleST DReaMS aRe NOT aBOVeTHe wORKINGS OF THe HeaRT

VICTOR.I lOST My way SO lONG aGOTOO MaNy SINS TO NOw CONFeSSaND yeT yOU STIll CaN TOUCH Me SOTHROUGH THIS PaIN aND eMPTINeSS

(During the course of the song, they gradually move together, until they are in the same time and place.)

ELIZABETH.yOU NeeDN’T FeaR TOMORROwI lOVe THe MaN yOU aReyOUR HeaRT IS ONe THaT FOllOwSSOMe BRIGHT, BUT DISTaNT STaR

VICTOR.HOw COUlD I CaRe FOR aNy OTHeR lIFe?wITH yOU My wORlD BeGINS aNewwHIle I waS CHaSING DReaMS aCROSS THe NIGHTI COUlDN’T See, aS NOw I SeeMy ONly DReaM IS yOU

ELIZABETH.alwayS DID I KNOw yOU’D Say THeSe wORDS TO MeI’Ve KNOwN THe GOODNeSS IN yOU all OUR lIVeSDON’T BlaMe yOURSelF FOR wHaT yOU CaNNOT Be

(A MINISTeR appears. VICTOR and elIZaBeTH join hands for their wedding ceremony.)

MINISTER. Dearly beloved…we are gathered here today before God to unite this man and woman in holy matrimony.

ELIZABETH. we NeeDN’T FeaR TOMORROw

VICTOR. wITH yOU THe wORlD BeGINS aNew

ELIZABETH. TRUe lOVe CaN NeVeR DIe

VICTOR. yOU aRe My ONly GUIDING STaR

ELIZABETH. wITH all THeSe DReaMS TO FOllOw

VICTOR. aM I TOO laTe TO lIVe THIS DReaM?

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ELIZABETH. PleaSe PROMISe Me yOU’ll TRy

BOTH. TO KNOw THe wORKINGS OF THe HeaRT

(During previous, wedding GUeSTS begin to gather.)

(NOTE: Alternatively, the “Guests Chorus” can also be kept off-stage.)

CHORUS. (Over previous duet:)a BleSSeD DayTHe wORKINGS OF THe HeaRTwIll lIGHT THe way…yOUR GUIDING STaR

VICTOR. SO SOON THe eND TO all THIS MaDNeSS

ELIZABETH. HOw I SO waNT TO BelIeVe yOU

VICTOR. NeVeR aGaIN wIll yOU KNOw SaDNeSS

ELIZABETH. TO HOlD yOU FaST aND NeVeR leaVe yOU

BOTH.THROUGH DaRKeST NIGHTS aND lOST DaySOUR HeaRTS wIll lOVe FOR alwaySTHaT’S SOMeTHING eVeN DeaTH CaNNOT UNDO

MINISTER. I now pronounce you man and wife.

(VICTOR and elIZaBeTH kiss.)

(The scene shifts and VICTOR drifts away from her, his face a mask of dread.)

VICTOR. It was planned for us to spend the first night of our union in a villa on the shores of lake Geneva. From there, I would be sure to see his approach, and I could go out to meet my fate. and eliza-beth would be spared the sight of it.

(VICTOR exits. The GUeSTS [if on-stage] have faded off, leaving elIZaBeTH alone.)

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Scene 4

(In her chamber, elIZaBeTH fidgets nervously as a breeze plays with the curtains of an open window. Suddenly, a voice from the shadows:)

CREATURE. what a beautiful bride you make.

ELIZABETH. who is there?? who are you?

(The CReaTURe’s giant form is silhouetted behind the curtains. [Alternative: He hides in shadows.])

CREATURE. Behold…your husband’s greatest accomplishment.

(The CReaTURe steps into her view. She recoils in horror.)

(Song: [26] “An Angel’s Embrace.”)

THIS IS THe wORK OF THe MaN THaT yOU lOVeyOUR DOCTOR OF THe DeaDwHO ROBBeD Me OF eTeRNal ReSTaND CURSeD Me wITH lIFe INSTeaD

(She manages to control her fear enough to speak:)

ELIZABETH. are you the dark secret Victor cannot share with me? are you the source of this family’s sorrow?

CREATURE. yes, there is blood on my hands—but also upon your dear Victor’s. (Near tears:) He has…murdered the woman who was to be my bride.

ELIZABETH. That cannot be!

(Outraged at her defiance, the CReaTURe glares at her. She quivers in fear—but cannot look away.)

ELIZABETH. But…I can see the…pain in your eyes. (Cautiously:) what is your name?

CREATURE. He GaVe Me NO NaMe!!!

ELIZABETH. you poor man. If you do not harm me… I will see that you are treated justly.

(Tears trace the CReaTURe’s face.)

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Please… ? let me help you.

(With trembling hand, she reaches up and brushes a tear away. To touch him is horrid, but she fights off the revulsion. The CRea-TURe is astonished at one of the few gestures of kindness he has known. It both touches and enrages him.)

CREATURE.wHy IS IT He SHOUlD KNOw SUCH lOVewHIle DeNyING Me THe SaMe?wHaT IS IT lIKe IN aN aNGel’S eMBRaCe…?

(The CReaTURe draws her suddenly, violently, into his em-brace. elIZaBeTH gasps for breath.)

ELIZABETH. you…you’re hurting me.

CREATURE. Your pain will be fleeting, sweet bride. Mine goes on…and on…and on…

(Blackout.)

Scene 5

(When the lights come up again, they reveal VICTOR, near emo-tional breakdown, standing before Elizabeth’s grave.)

(Projection: Cemetery. A tombstone inscribed “ELIZABETH FRANKENSTEIN.”)

(Song: [27] “The Workings of the Heart” (Reprise).)

VICTOR.I TRIeD TO MaKe a wORlD FOR yOUwHeRe DeaTH wOUlD NeVeR TOUCH OUR lIVeSaND NOw My lOVe HaS FalleN TOTHe FaTe THaT SHOUlD Be MINe

yOUR PeaCe HaS COMeyOU’ll CRy NO MOReleT all yOUR PaIN aND FeaR DePaRTI wIll KeeP yOU SaFe INSIDeTHe wORKINGS OF My HeaRT

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(VICTOR falls to his knees.)

(On another part of the stage, his FaTHeR appears.)

(Song: [28] “Your Father’s Eyes” (Reprise).)

FATHER.a yOUNG MaN IS SIleNTly CRyING IN PaINNO ONe TO aID HIM, FOR NONe SHaRe HIS NaMe…

(Projection: A second tombstone appears alongside Elizabeth’s: “ALPHONSE FRANKENSTEIN.”)

THOUGH yOU May lOSe THe wORlDaND all yOU OwNaND eVeN IF yOU’Re leFT TO walK THIS wORlD alONeIT MaTTeRS NOT THe ROaD yOU CHOOSeFOR ONe THING yOU CaN NeVeR lOSeyOU’ll alwayS Be THe lIGHT THaT SHONewITHIN yOUR FaTHeR’S eyeS

(FaTHeR recedes into the darkness.)

VICTOR. Is it possible to perish of a broken heart? If so, then for your death too, father, I am now responsible. (Turning his gaze out-ward:) And yet it is not ended. “It” lives. And I will find him.

Scene 6

(Lights down on VICTOR. On another part of the stage, the CReaTURe is seen, a picture of inner torment.)

(Song: [29] “Why?” (Reprise).)

CREATURE.wHy THIS RaGe? wHy DID I DO THIS?wHy THIS VeNOM IN My VeINS?wIll THIS BlOODlUST NOT Be SIleNCeD’TIl NO lIVING SOUl ReMaINS?

RIGHTeOUS wRaTH… FITS OF FURy…THOUGHTS I CaNNOT UNDeRSTaNDSaINTly SOUlS, CHeRISHeD CHIlDReNMURDeReD By THeSe HORRID HaNDS!

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(The CReaTURe suddenly quiets, fixated upon his hands, as if foreign objects.)

(Song: [30] “These Hands.”)

CREATURE.THeSe HaNDS… HOw I FeaR FOR THeSe HaNDSHOw I wONDeR IFeVeR HaD THeSe HaNDS BeeN HelD wITH COMPaSSIONCOUlD THey DO wHaT THey’Ve DONeTHeSe HaNDS?

aND wHaT OF THeSe eyeS?BlIND wITH HaTe aRe THeSe eyeSCOUlD IT ONCe Be THaTSOMeONe GaZeD INTO THeSe eyeS wITH aFFeCTIONaND Saw GOOD DeeP wITHIN THeSe eyeS?

aND wHy… HaVING TaSTeD OF VeNGeaNCeDO THeSe lIPS CURl wITH MaDNeSS aND PaIN?CRyING IN VaIN: “a SOUl THaT COUlD lOVe IS NOwHelPleSSly CHaINeD TO THeSe HaNDS!”

aND THeSe eaRS STIll HeaR HeR CRyINGaND wIll NeVeR KNOw laUGHTeR OR SONGeVeR SO lONGaS BlOOD OF THe INNOCeNT RUNS ReD UPONTHeSe HaNDS

THeSe DeTeSTaBle HaNDSaND THIS TeRRIBle HIDe wITH ITS POISON INSIDeHaTeD lIMBS aND FOUl HeaRTI wOUlD TeaR THeM aPaRTIF I ONly COUlD Feel wHaT I FelT wHeNI HelD HeR wITHIN THeSe HaNDS

UNFORGIVING, UNMeRCIFUl HaNDSTHeSe UNFeelING, CONTeMPTIBle HaNDSaND OUR eND wIll NOT COMeUNTIl JUSTICe IS DONe By THIS… MaN!

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Scene 7

(Song: [31] “The Chase.”)

(VICTOR re-appears, still weeping at Elizabeth’s grave. The CReaTURe has been nearby, watching, all along. The CRea-TURe calls out to VICTOR [live, but with voiceover / reverb ef-fect]:)

CREATURE. Do you now know what it’s like to thirst for ven-geance, Victor Frankenstein? Then prepare for a journey that will be long and painful… I will leave my mark on each byway and vil-lage…and you will know that you travel in my wake. are you equal to the challenge? If so…then pursue me—if you dare.

VICTOR. IF I MUST… TO THe eNDS OF THe eaRTH

(VICTOR begins to follow the CReaTURe—pursuing him—in a stylized series of movements that at times suggest a cat-and-mouse search, and at others a wrestling match. The CHORUS enters and surrounds them, sometimes impeding their pathway, other times addressing VICTOR directly:)

CHORUS.RaCING aFTeR SHaDOwS ON SOMe DISTaNT ROaDyOUR eVeRy STeP IS FUeleD By RaGeBUT IS THeRe SOMeTHING IN yOUR PaTH THaTHaUNTS yOU?

(From among the CHORUS, wIllIaM, and JUSTINe emerge—ghosts in Victor’s memory—quickly followed by his FaTHeR:)

WILLIAM. CaN yOU Tell Me wHy…?

FATHER. DO yOU eVeN KNOw wHaT yOU PURSUe?

JUSTINE. RaCe a THOUSaND MIleS

GHOSTS & CHORUS.STIll yOU May NOT FIND THe THING yOU CHaSe

(Title Slide: AUSBERG, BAVARIA.)

(The CReaTURe calls to VICTOR again. Sometimes he whis-pers these taunts directly in VICTOR’s ear; at other times he shouts them over great distances. In each case, the CReaTURe can see VICTOR, but VICTOR cannot see him. He is eternally

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frustrated in his pursuit of the CReaTURe, who is always in control at every turn.)

CREATURE. Have you the courage to venture beyond the familiar climes of Bavaria, farther into the North-land? Or has your boldness deserted you? Come…race with the devil!

VICTOR.aT eaCH TURN He MOCKS Me wITH a CRyPTIC aNDINFURIaTING ClUeI wIll NOT GIVe UP TIll He’S DeaD!

CHORUS. RaCING aFTeR SOMeTHING lOST INSIDe yOUR SOUl

(A ghost of HeNRy appears.)

HENRY.HaVe yOU FORGOTTeN all we SHaReD?IS THeRe NO lIGHT wITHIN yOUR HeaRT TO GUIDeyOU?

WILLIAM & JUSTINE. aRe yOU lOST aND COlD?

FATHER. aRe we eVeR TRUly all alONe?

GHOSTS & CHORUS.RaCe a THOUSaND MIleSSTIll yOU May NOT FIND THe THING yOU CHaSe

(Title Slide: BRESLAU, PRUSSIA.)

CREATURE. Growing weary, my enemy? Our journey has barely begun!

VICTOR. HOw MUCH MORe CaN ONe MaN eNDURe?

(A ghost of elIZaBeTH appears to him.)

ELIZABETH. THe ROaD May TwIST aND TURN

WILLIAM. Tell Me wHy??

ELIZABETH. BUT STIll yOU’Ve ONe DIReCTION

FATHER. a yOUNG MaN IS SIleNTly CRyING IN PaIN

ELIZABETH. aND yOU HaVe KNOwN IT all alONG

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JUSTINE. aRe yOU INNOCeNT?!

HENRY. wHy CaN yOU NOT See THe TRUTH?

ELIZABETH. DeaR VICTOR

ALL.THe ROaD May TwIST aND TURNBUT STIll yOU’Ve ONe DIReCTIONIT IS THe ONe yOU’Ve KNOwN FOR all yOUR lIFeSO NeaR aND yeT SO FaR…

(Title Slide: FAUSKE, NORWAY.)

CREATURE. The end grows near, Frankenstein. Follow me to the ices of the arctic. There, the battle’s end awaits.

(The CReaTURe vanishes.)

VICTOR.wHaT IS IT THaT I MUST DO TO BRING THIS BlOODyNIGHTMaRe TO aN eND?

CHORUS.yOU MUST BeaR yOUR SOleMN DUTy

VICTOR.FROM THaT COlD aND BaRReN laNDHe BeCKONS Me TO FaCe HIMONCe aGaIN

CHORUS. aND aCCePT wHaT IS yOUR OwN

VICTOR. IS IT THeRe ReDeMPTION IS FOUND?

CHORUS. lOOK INSIDe yOUR HeaRT

VICTOR.wHaT IS IT COMPellING Me TO FOllOw IN eaCHFOOTSTeP He HaS laID?

CHORUS.lONG aGO yOU CHOSe yOUR PaTHway…yOUR FaTe IS MaDe

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VICTOR.aRe we SOMeHOw lINKeD?THe FOOl CReaTOR aND THe lIFe THaT He HaS MaDe?

CHORUS.we MUST aNSweR FOR OUR DeeDS…a PRICe TO Pay

VICTOR.eCHOING INSIDe My HeaRT aRe VOICeS FROM THe PaST

CHORUS. SeaRCH NOw wITHIN

VICTOR.CallING Me TO waKeN aNDReDeeM MySelF aT laST

CHORUS. THeRe IT BeGINS

VICTOR.aND I MUST NOT FaIl… FaST UPON HIS TRaIlDeSTINy DelIVeR Me BeyOND THe eNDleSS STORM

(Finally, VICTOR is confronted by the most chilling vision of all…his MOTHeR.)

Scene 8

(VICTOR is now in a ship bound for the Arctic.)

(Title Slide: THE NORWEGIAN SEA. LAT. 67º 19’ N, LONG. 12º 6’ E.)

(Song: [32] “The Coming of the Dawn.”)

VICTOR.I HaVe SeaRCHeD aCROSS THe yeaRSFOR a GlIMPSe BeyOND THe TeaRSNOT CaRING ONCe FOR THOSe I leFT BeHINDHaVING STRayeD SO FaR FROM HOMeI DeSeRVe TO STaND alONeFOR wHIle I CHaSeD THe SeCReTS OF THe NIGHTI NeVeR Saw THe BeaUTy IN THe lIGHT

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Table of Contents

ACT I[1] “Prelude” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7[2] “Overture” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11[3A-D] “Golden Age” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13[3E] “Mother’s Grave” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32[4] “Amen”. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34[5] “Birth To My Creation” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46[6] “The Lab” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63[7] “Dear Victor” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68[7B] “Was It a Dream?” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79[8] “The Lab, Part 2” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81[9] “Burn The Lab / Dear Victor (Reprise)” . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86[10] “The Hands of Time” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89[11] “Your Father’s Eyes” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100[12] “The Creature’s Tale, Part 1” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107[13] “The Waking Nightmare” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110[14] “The Creature’s Tale, Part 2” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121[15] “The Music of Love” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124[16] “The Death of the Blind Man” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132[17] “The Creature’s Tale, Part 3” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135[18A-B] “Why?” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139[19] “The Proposition” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154

ACT II

[20A-B] “A Happier Day” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172[21] “The Modern Prometheus” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187[22] “Another Like Him” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200[23] “What Have You Done?” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 202[24] “The Hands of Time (Reprise)” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206[24B] “Workings (Preamble)” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208[25] “The Workings of the Heart” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210[26] “An Angel’s Embrace” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220[27] “The Workings of the Heart (Reprise)” . . . . . . . . . . . . . . . . . . . . . . . . . . . 224[28] “Your Father’s Eyes (Reprise)” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226[29] “Why? (Reprise)” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228[30] “These Hands” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230[31] “The Chase” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237[32] “The Coming of the Dawn” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247[33] “The Arctic” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257[34] “Amen (Reprise)” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261

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