Frankenstein, Liam Scarlett's first evening length commission by the Royal Ballet, takes a very literal approach in all aspects. Drawing on Mary Shelley's novel from 1818, the ballet is, after Wayne Ealing's 1984 version, the second take of the Royal Ballet to tackle this narrative. Shelley's narrative immediately sparked interest upon publication and has since become a classic in its own right. Subsequently, it influenced a myriad of stage and film adaptations. The nameless Creature haunts popular film productions leading to an established but distorted image of Shelley's creation in the collective subconscious of Gothic fiction fans. Scarlett's endeavour to work with the emotional nuances of the narrative is here a welcome effort. Shelley's original offers subtexts of suffering, social assimilation, raises questions concerning responsibility towards others and whether the unthinkable should be attempted. Victor Frankenstein, as creator, denies his creation a name and, after months of toil, recoils in horror upon seeing his attempt to create life has been successful. The sentient and intelligent Creature suffers in its solitude and rejection by society longing for a companion and happiness. Both roles offer a rich treasure trove for character development individually and in their exchanges. Frankenstein the scientist to play God abandons his creation that seeks support and guidance from him.
Scarlet's performance, however, does not manage to tease out the depths of Shelley's narrative. It follows scene by scene the novel exhausting it and audiences. Details of the narrative are enacted lengthily with appropriate Gothic visuals in stage design and backdrops. In midst of dancing house maids and anatomy students, Frankenstein's gradual abandonment of moral and ethical norms is nonexistent. The rushed creation of the Creature offers some nice sparks and lightning flashes, but the horror of Frankenstein realising the dimension of his deed does not happen. Federico Bonelli as Victor Frankenstein and Steven McRae as Creature strive with immaculate performances to show the struggle, but are choreographically denied character development. McRae embraces the Abomination's monstrosity with fervour, but, instead of actively working on socialisation as in the novel, the wretched creature passively watches from the sidelines merely curtseying. One beautiful and haunting moment is still given to them. Not the fight between creator and Creature which lacks conviction, but the ball scene with the Abomination weaving in and out of the dancing guests of the wedding. Frankenstein in his mental torment cannot distinguish friend from foe.
Dramaturgically, the performance lacks he highlights and dynamic qualities and rhythms of an engaging narrative. Neither score nor choreography offer truly memorable moments. With Frankenstein, the Royal Ballet took a step towards new storytelling, but lacks a true storyteller as director/choreographer. Scarlett's attempt at a well known Gothic masterwork remains within the boundaries of fandom that draws on common devices and imagery that do not transcend the superficial aspects of the socio-cultural other.
Very nice
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