S3E60 Join us for a dissection of Mary Shelley's iconic novel, Frankenstein, the tale of an ambitious young Swiss scientist, who in the course of penetrating the deepest mysteries of nature, creates artificial life. Ash's special guest this week is Emily Ingram, theatre practitioner and writer who is currently working on a play based on Shelley's life.
You can find out more about Emily's work and her theatre company, Some Kind of Theatre, here:
https://www.somekindoftheatre.co.uk/
Access bonus content here:
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Title Music: 'Not Drunk' by The Joy Drops. All other music by Epidemic Sound.
Intro: The Bell Jar (1979)
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‘Kookaburra’ (1998) by Frieda Hughes
‘Address to Edinburgh’ (1786) by Robert Burns
“Ominous Whoosh”: John Thorne on Twin Peaks
“Plath’s Not a Phase”: Trish Grisafi on Breaking Down Plath
‘Stings’ (1962) by Sylvia Plath
“I Felt Like I Was Cheating on Plath”: Peter K. Steinberg on the Writings of Assia Wevill
‘The Swarm’ (1962) by Sylvia Plath
‘Electra on Azalea Path’ (1959) by Sylvia Plath
“My Mother’s Legacy is Secure”: Kate Levey on Brigid Brophy
The Snow Ball (1964) by Brigid Brophy
“Shakespeare’s Tutor”: Darren Freebury-Jones on The Influence of Thomas Kyd
The Birth of Merlin (1622) by William Rowley
The Spanish Tragedy (1587) by Thomas Kyd
Now Westlin Winds (1785) by Robert Burns
“A Festival that Focuses on Female Voices”: Sarah Corbett on Directing Plath Fest
‘November Graveyard’ (1956) by Sylvia Plath
“This Tender Substance”: Donnie Secreast on Plath’s Universal Element
‘Hardcastle Crags’ (1958) by Sylvia Plath
”It’s a Rigorous Demand”: Emily Van Duyne on Loving Sylvia Plath
‘The Jailor’ (1962) by Sylvia Plath
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