Abstract
Zola's Thérèse Raquin, first published as a novel in 1867 and adapted by the author as a play in 1873, has proven to be a tale well-suited for retelling: it has been reframed as television and full-length feature films in the USA and Europe, and revived as ballets, operas, and even a Broadway musical over the last decade. Focusing first on Zola's use of the frame narrative in his staged version of Thérèse Raquin and turning next to three replottings of the original tale — Michael Finnissy's 1992 opera, Marcel Carné's 1953 film, and Harry Connick Jr's 2001 Broadway musical — this essay situates the adaptive appeal of Thérèse Raquin less in Zola's purported goal of analysing temperament, heredity, and milieu, than in the dramatic framing of a critique of bourgeois culture.
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