Image: Morgan Roberts
I met with Chris Beckey in July for coffee and a chat at The Three Monkeys in West End. Chris was then appearing in CALIGULA for The Danger Ensemble. As I edit this long-overdue post, he is preparing for the Brisbane Festival’s production of Ibsen’s A DOLL’S HOUSE in an adaptation by Lally Katz. Once again, he is working under the direction of long-time creative collaborator Steven Mitchell Wright.
That afternoon I asked Chris, as I do all artists I interview, what had brought them to where they are now. We end up talking about process as the afternoon ticked away. Continue reading “Chris Beckey (Interview 44)”
Images: Geoff Squires
Frankenstein, written at the start of the 19th century, has taken deep root in our culture. It’s a sprawling, gothic-romantic novel, considered by some to be the first science-fiction story. In a way it sits at the door of contemporary literature and points the way to the genres we now take for granted.
It’s a challenging novel to read, and its cinematic and theatrical spin-offs are legion as artists across the decades, fascinated by its subject matter, have attempted to set their own stamp upon it. Millions of words and perhaps as many hours have been devoted to this book, written by the 19 year old Mary Shelley during one rainy summer holiday in Geneva, and in response to a competition amongst her friends, including Byron and her husband to be, Percy Shelley, to see who could write the best horror story. Mary won that bet.
The latest to attempt to tame the beast is independent Fractal Theatre’s adaptation and production for the stage at Brisbane Arts Theatre. No matter the subject they tackle you know you are going to be provoked by Fractal. Their work doesn’t shy away from the intellectually difficult or the theatrically ambitious and Brenna Lee Cooney’s adaptation and direction of Frankenstein is no exception.
Continue reading “Review: Frankenstein – Fractal Theatre at Brisbane Arts Theatre”