Post 2
For awhile, the only modern adaptation of the BBC series of Neverwhere was the novel itself, Neverwhere. GMZOE, author of the Neil Gaiman Visual bibliography, wrote that the novel was published in September 16, 1996. As stated in the Comic Book database, the first issue of Mike Carey’s comic book series, Neverwhere, was published in August 2005.
According to DarthSkeptical, an anonymous contributor to Comic Book Database, the reason that most of the content in the comic book series derives from the novel and not from the BBC series is due to the fact that the novel generated more fans worldwide than it did with “the British-made program.” The way this modern interpretation affects the work as a whole is that the modern interpretation is being retold from other ideas and thus the challenge is to redo what is already re-done. Furthermore, because it’s an interpretation, some images and scenes in the comic book series vary from what many readers perceive to be is the precise way a certain noun in the story should be. As Carey puts in his introduction of his comic book series, issue 1, “straight translation from one medium into another is undesirable and impossible.” Despite the fact that the reader is subject to a limited group of collaborative ideas set and defined by the artwork and text of Richard Horrie, Tanya Horrie, Tony Luke, Todd Klein, and Glenn Fabry, Mike Carey’s attempt to re-tell the story of Neverwhere is successful, in terms of getting across the main idea of the story.
According to the webpage entitled “Lifeline Theater::Neverwhere”, from Lifeline Theater’s, in April of 2010, Chicago’s Lifeline Theater performed Robert Kaulzaric’s stage adaptation of Neverwhere, the novel. It was directed by Paul S. Holquist.
Here’s a link to the trailer to Lifeline Theatre’s production of Neverwhere:
According to some critics, the cast was successful in portraying the same characters that a reader of Neil Gaiman’s novel could appreciate, such as the comic relief shared between Mr.Vandemar and Mr. Croup. All critic reviews can be found in the webpage entitled, “Lifeline Theater:: Neverwhere Press” from Lifeline Theater’s website.
Randall Colburn, from Gapers Block, wrote that in the performance by Sean Sinitski and Christopher M. Walsh, who played Mr. Croup and Mr. Vandemar, they use “dry banter and garish demeanor, heightening a menace that’s nothing but playful,” which is exactly what the readers witnesses throughout the novel of Neverwhere.
For example, when Varney is confronted by Mr. Croup and Mr. Vandemar, Mr. Croup warns Varney to not move or his friend Mr. Vandemar “ ‘might have a little accident’ ” by stabbing Varney. Mr. Croup adds, “ ‘Most accidents do occur in the home’.” Then, he asks Mr. Vandemar for confirmation, to which Mr. Vandermar replies, “ ‘I don’t trust statistics.’ ” (Chapter 4, p.94, Gaiman.) They are so good at making each other look foolish, even in such a grave situation.
Also, critics such as Katy Walsh of Chicago Now and Chris Jones of the Chicago Tribune remarked about what they saw in the scenery in Lifeline’s production of Neverwhere and stated that in terms of incorporating the crucial details of the story’s setting, the crew achieved their purpose.
Katy Walsh asserted that Alan Donahue, the scenic and properties designer, “transformed the Lifeline Theater into below Gotham” and that with the help of Kevin D. Gawley, the lighting designer, the scenery, seemed, “authentically gothic.” Chris Jones mentioned that “there is a clear visual picture of London Below in Alan Donahue's very shrew design. ”
Kevin D. Gwaley
With precise character portrayals and well-designed scenery, Lifeline’s stage adaptation of Neverwhere does justice to the fans who read the novel, while at the same time, conserves Gaiman’s work, as a whole.---JC
Alan Donahue
