based on his novel, was disappointed. According to The Evening Standard, he called the score, written by Bono and The Edge of the rock group U2, "neo-wallpaper". Burgess had originally worked alongside the director of the production, Ron Daniels, and envisioned a musical score that was entirely classical. Unhappy with the decision to abandon that score, he heavily criticised the band's experimental mix of hip hop, liturgical and gothic music. Lise Hand of The Irish Independent reported The Edge as saying that Burgess's original conception was "a score written by a novelist rather than a songwriter". Calling it "meaningless glitz", Jane Edwardes of 20/20 magazine said that watching this production was "like being invited to an expensive French Restaurant – and being served with a Big Mac." In 1994, Chicago's Steppenwolf Theater put on a production of A Clockwork Orange directed by Terry Kinney. The American premiere of novelist Anthony Burgess's own adaptation of his A Clockwork Orange starred K. Todd Freeman as Alex. In 2001, UNI Theatre (Mississauga, Ontario) presented the Canadian premiere of the play under the direction of Terry Costa. In 2002, Godlight Theatre Company presented the New York Premiere adaptation of A Clockwork Orange at Manhattan Theatre Source. The production went on to play at the SoHo Playhouse (2002), Ensemble Studio Theatre (2004), 59E59 Theaters (2005) and the Edinburgh Festival Fringe (2005). While at Edinburgh, the production received rave reviews from the press while playing to sold-out audiences. The production was directed by Godlight's artistic director, Joe Tantalo. In 2003, Los Angeles director Brad Mays and the ARK Theatre Company staged a multi-media adaptation of A Clockwork Orange, which was named "Pick of the Week" by the LA Weekly and nominated for three of the 2004 LA Weekly Theater Awards: Direction, Revival Production (of a 20th-century work), and Leading Female Performance. Vanessa Claire Smith won Best Actress for her gender-bending portrayal of Alex, the music-loving teenage sociopath. This production utilised three separate video streams outputted to seven onstage video monitors – six 19-inch and one 40-inch. In order to preserve the first-person narrative of the book, a pre-recorded video stream of Alex, "your humble narrator", was projected onto the 40-inch monitor, thereby freeing the onstage character during passages which would have been awkward or impossible to sustain in the breaking of the fourth wall. An adaptation of the work, based on the original novel, the film