This chapter examines Frankenstein as the final case study, analysing how intersemiotic translation and intermedial circulation operate across different production scales, focusing particularly on Nick Dear, Frankenstein, Faber and Faber, London, 2011 National Theatre production, directed by Danny Boyle, and Blackeyed Theatre’s 2016/2022 touring adaptation. It explores how production scale, along with institutional positioning, influences adaptation strategies. The National Theatre’s large-scale production integrates cinematic aesthetics and live broadcasting, while Blackeyed Theatre’s touring adaptation employs minimalist staging, physical theatre, and puppetry. Each production establishes its own coherence in difference and demonstrates how technology and institutional frameworks mediate Frankenstein’s adaptation trajectory and cultural positioning.