The bard celebrates two other fine practitioners of the art, and laments a lost brewer
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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]
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
ANGUS REID is bowled over by an exuberant film about the making of Keith Jarrett’s legendary concert
MARIA DUARTE, FIONA O’CONNOR and ANDY HEDGECOCK review Savage House, Enzo, Madfabulous, and Erupcja
CHRIS SEARLE recommends a work of love and deep admiration for a great musician
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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