SIMON DUFF recommends a recording of Arvo Part that takes the listener on a pilgrimage through seemingly distant times and events of the Bible
Disjointed monster
SUSAN DARLINGTON isn’t convinced that the many parts of Frankenstein fit together in a new production
Georgia-Mae Myers and Nedum Okonyia in Frankenstein
[Ed Waring]
JENNY FARRELL relishes an intimate memoir about growing up in the household of the great Irish communist and playwright Sean O’Casey
SIAN LEWIS relishes a comprehensive account of high rise social housing in Britain by prize-winning social and political historian Holly Smith
SIMON PARSONS feels a little overwhelmed by the joke count of an ebullient production that manages to convey Stoker’s Dracula without corpsing
SYLVIA HIKINS enjoys a varied Scouse alternative to traditional pantomimes
Rereleases from The Pentangle, The Charlie Daniels Band, and Cousins and Willoughby
TWO hundred years after its publication, Mary Shelley’s Frankenstein still has the power to reflect contemporary fears and anxieties.
Poor Things, adapted from Alasdair Gray’s 1992 book, is currently box office gold at the cinema with its update of what it means to be human. Production company Imitating the Dog, meanwhile, has approached the gothic sci-fi classic with what it terms a “psychologically thrilling remake.”
The company has form in adapting standards, having previously staged a shot-for-shot recreation of George A Romero’s Night of The Living Dead, and Dracula: The Untold Story. These shows placed multimedia exploration at their heart, to thrilling and memorable effect.
Similar stories
BLANE SAVAGE recommends the display of nine previously unseen works by the Glaswegian artist, novelist and playwright
SUSAN DARLINGTON is bowled over by an outstanding play about the past, present and future of race and identity in the US
MARY CONWAY admires an accomplished drama that explores the consequences of a fatal punch on a desolate housing estate
PAUL DONOVAN applauds an adaptation that draws out the contemporary relevance of George Orwell’s satire