New releases from Joe Wilkes, Honey and the Bear, and Hannah James and Toby Kuhn
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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]
Given the power of the live experience, MIK SABIERS recommends Jon Spencer’s new album
Reviews of T.P. Orchestre Poly-Rythmo, Tamikrest, and Dub Colossus
The bard celebrates two other fine practitioners of the art, and laments a lost brewer
This right-wing conspiracy theory is used to justify the coercive measures against gender, race and labour rights that best serve capitalism, attests GAVIN O’TOOLE
KENNY MONROSE recommends a new exhibition that highlights the significance of Black British music
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
MAYER WAKEFIELD has reservations about a two-handed theatrical homage to jazz’s most mercurial musician
PETER MASON applauds a stage version of Le Carre’s novel that questions what ordinary people have to gain from high-level governmental spying
SIMON PARSONS is beguiled by a dream-like exploration of the memories of a childhood in Hong Kong
BLANE SAVAGE recommends the display of nine previously unseen works by the Glaswegian artist, novelist and playwright