CREATIVE TEAM
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SCENIC & COSTUME DESIGNER
LIGHTING DESIGNER SOUND DESIGNER COMPOSER WIG DESIGNER FIGHT CHOREOGRAPHER INTIMACY MOVEMENT COACH DIALECT COACH PRODUCTION DRAMATURG CASTING DIRECTOR STAGE MANAGER |
LEX LIANG
JAKYUNG C. SEO SHARATH PATEL DEREK A. GRAHAM JASON HAYES JOSÉ PÉREZ IV CASEY VENEMA KENYA WOODS MATT KOENIG CRAIG JOSEPH KARIE KOPPEL JOHN GODBOUT* |
Composer's Note
Before I read mary shelley's frankenstein, I did not realize how unfamiliar I was with the original story; I was more familiar with the 1931 film starring boris karloff, where the monster was an obvious villain with a unbridled penchant for violence. however, this stageplay adaptation by david catlin revealed the actual tale that offered a tone deeper than mainstream horror. It struck as a tragic, dramatic one.
The music was inspired by the obsession of victor frankenstein, who was infatuated with creating life by way of using dead body parts as well as his creation, aptly named in the script as 'creature.' the music's progression follows both characters' highs and lows in their respective relationships, leading to the horrific deeds made by the creature.
The motif was established as an underscore to the character of mary shelley, who begins to tell this story over a campfire with friends. The musical style of choice was a Pseudo-traditional aspect of romanticism, orchestrated with the melodic nature of the harp and celesta, the textures enveloped by strings, and a transcendent element not of the period: The Electric Guitar. In the 'Story Begins' track, the development of the motif starts with the contrapuntal harp and celesta before any of these remaining textures are introduced. The electric guitar uses stab textures to personify flashes of lightning, almost to a 'gimmicked' effect. Nothing evokes 'it's alive!' more than lightning!
I also used the grand piano to create a 'waltz' section, as 3/4 time is a profound meter in romantic-era music. All of this lead to variants of the same motif throughout the play, creating for impactful storytelling, especially when the tones grow darker.
The music was inspired by the obsession of victor frankenstein, who was infatuated with creating life by way of using dead body parts as well as his creation, aptly named in the script as 'creature.' the music's progression follows both characters' highs and lows in their respective relationships, leading to the horrific deeds made by the creature.
The motif was established as an underscore to the character of mary shelley, who begins to tell this story over a campfire with friends. The musical style of choice was a Pseudo-traditional aspect of romanticism, orchestrated with the melodic nature of the harp and celesta, the textures enveloped by strings, and a transcendent element not of the period: The Electric Guitar. In the 'Story Begins' track, the development of the motif starts with the contrapuntal harp and celesta before any of these remaining textures are introduced. The electric guitar uses stab textures to personify flashes of lightning, almost to a 'gimmicked' effect. Nothing evokes 'it's alive!' more than lightning!
I also used the grand piano to create a 'waltz' section, as 3/4 time is a profound meter in romantic-era music. All of this lead to variants of the same motif throughout the play, creating for impactful storytelling, especially when the tones grow darker.