PAUL DONOVAN applauds an intriguing multi-layered depiction, dominated by a stunning impersonation of Marilyn herself
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Frankenstein, Southwark Playhouse London
Ingenious updating of Mary Shelley's gothic masterpiece is a technological triumph
Excellent: Ella Dacres and Sarah Lusack
[Helen-Murray]
LEO BOIX applauds an audacious, self-questioning film about grief, friendship and film-making
MARY CONWAY admires a brave and topical study of Armageddon that is, unfortunately, unable to come to a conclusion
ANDY HEDGECOCK, JAMES WALSH and JAMIE BRITTON review Hanging by a Wire, I Want Your Sex, The Pout-Pout Fish, and Rise of the Foot Soldier: Retribution
Chris Searle speaks to US pianist RAN BLAKE
The Bard hands out medals for his Edinburgh campaign and urges us to support The Men They Couldn’t Hang
THE National Youth Theatre’s Frankenstein opens with Sonny Poon Tip’s Garth standing on stage and telling the audience that, “like fax machines,” virtual reality will soon make actual theatres obsolete.
It’s a gutsy claim but then everything about this production is robust, from the performances of the National Youth Theatre’s young actors to the radical edit of Mary Shelley’s two-centuries-old novel.
Technology is at the heart of Carl Miller’s adaptation, in which Frankenstein’s monster (Sarah Lusack) is AI and, in an excellent sequence, the audience experience the action through VR headsets.
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