A few months ago, I reviewed the much talked-about Netflix television show The Haunting of Hill House. And as requested, I’m back with a review of the follow-up season The Haunting of Bly Manor! Like Hill House, The Haunting of Bly Manor was created for Netflix by Mike Flanagan and it features many of the same actors, but it is not a direct sequel. Instead, while Hill House took on Shirley Jackson’s most famous novel, Bly Manor tackles the works of another beloved American author, Henry James. Loosely inspired by James’s ghostly novella The Turn of the Screw, with plot elements from a few of his other stories thrown in, the nine episodes of The Haunting of Bly Manor debuted on Netflix on October 9, 2020—just in time to be the perfect mid-pandemic binge. Continue reading Review of Netflix’s The Haunting of Bly Manor
Tag: adaptation
Review of Netflix’s The Haunting of Hill House
The Haunting of Hill House by Shirley Jackson has been adapted many times. It has become, in popular culture, the quintessential haunted house story, although Shirley Jackson’s novel leaves the veracity of the haunting intentionally ambiguous. One thing many adaptations struggle with is how to maintain that ambiguity while still evoking horror. The recent Netflix series, directed by Mike Flanagan, accomplishes this balance by diverging from the source material significantly while preserving its central themes. This series arrived on Netflix in 2018, so I’m a little late to the bandwagon. But I finally finished watching it and wanted to share a few of my thoughts with you. Continue reading Review of Netflix’s The Haunting of Hill House
Classic Stage Company’s Dracula—A Feminist Adaptation
I love a good stage adaptation of Bram Stoker’s classic vampire novel, Dracula. After all, Stoker worked in theater for much of his life, and always intended for his charismatic Count to take the stage. Last weekend, I had the pleasure of seeing a particularly unique performance of Dracula adapted by Kate Hamill for the Classic Stage Company in New York City. Hamill makes significant revisions to the source material in order to transform Dracula into a feminist revenge fantasy by centering the female characters and confronting the sexism in Stoker’s original.
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Dracula, Performed
Dracula was always meant to be adapted to the stage. At the time that he wrote his most famous novel, Bram Stoker was working as the business manager for the Lyceum Theatre in London, owned by his friend, the renowned actor Henry Irving. Irving’s performances were often dark and dramatic, and he was best known for playing charismatic villains. It’s even been suggested that he partially inspired the appearance and personality of the Count in Stoker’s novel. Thus, it should come as no surprise that when Stoker finished his masterpiece, he envisioned Irving playing the titular character in a stage adaptation. He even drafted a script and ran through a staged reading of Dracula, or The Undead at the Lyceum, afterwards eagerly asking Irving what he thought. Irving’s answer, however, shut down any hopes Stoker had for his stage production: he summed up his opinion in one word: “Dreadful.”
Dorian Gray: The Musical, a NYMF Production
Oscar Wilde’s The Picture of Dorian Gray took on new life this summer in a musical adaptation as part of the New York Musical Festival. NYMF is a three-week annual festival that seeks to shine the spotlight on new works, many of which go on to perform Off-Broadway, and some even make it to the Great White Way! Dorian Gray: The Musical began as a graduate thesis project for playwright Christopher Dayett, with music arranged by Kevin Mucchetti. Last week, the beta musical appeared in three showings at the Acorn Theater. Director Christen Mandracchia invited me to attend a performance and share my opinion on the show.
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