Valiant ambition, energetic performances, but sadly lacking in bite.

A play that takes an alternative look at Mary Shelley’s Frankenstein. Set in a prison the story follows four people brought back from the dead and held captive by Dr. Frankenstein, awaiting their as yet unknown fate together.

Australian director Lawrence Carmichael fills Shakespeare's words with fresh meaning, offering a breath-taking drama and an unexpectedly amusing moment.

Pros: This is a well-constructed production, at times charming, at times heart-breaking. Cons: Both acting and story become increasingly repetitive, interfering with the play’s ability to be at all memorable. We are in a flat in Belsize Park in 1991. Books, art prints, classical sheet music, old-fashioned furniture and other bric-a-brac are scattered about, whilst Brahms’ Piano Quartet No. 1 in G Minor Opus 25 plays. Otto Huberman, a dotty old man who is obviously the flat’s sole inhabitant, listens ...

A refreshing take on a very old tragedy.

Well worth watching for the performances of Barnes and Perry, and for its smacker of an ending.

This funny, moving and powerful production is effortless in its execution.

Pros: A hilarious, touching, emotional ride through contemporary social and sexual mores Cons: None A bare, carpeted stage with a circular bed dead centre. As the lights go up, a couple are having energetic, enthusiastic sex beneath a pink satin eiderdown. All we can see of him are his lower legs, his underpants dangling from an ankle; all we can see of her as she sits astride him is the giant mouse costume that covers her from head to foot. ...

Poe’s classic gothic tale is let down by a sketchy adaptation that strips away all semblance of drama.

An intellectually curious show stumbles over its own cleverness, but is mesmerising nonetheless.