Inspired by Mary Shelley’s Gothic masterpiece, Frankenstein is the world premiere of Liam Scarlett’s new full-length ballet. A story of betrayal, curiosity, life, death and, above all, love, exploring the very depths of human nature.
Federico Bonelli dances the role of Victor Frankenstein, Laura Morera is his Elizabeth, Federico Bonelli is Victor, and Steven McRae is the creature. Koen Kessels conducts Lowell Liebermann’s newly commissioned score in this co-production between The Royal Ballet and San Francisco Ballet.
Victor Frankenstein: Federico Bonelli Elizabeth Lavenza:Laura Morera The Creature:Steven McRae Henry Clerval:Alexander Campbell Madame Moritz:Elizabeth McGorian Justine Moritz:Meaghan Grace Hinkis Victor’s father:Bennet Gartside Victor’s mother:Christina Arestis The Professor:Thomas Whitehead William Frankenstein: Guillem Cabrera Espinach Young Victor:Sacha Barber Young Elizabeth:Skya Powney Young Justine:Lauren Molyneux Artists of The Royal Ballet
Orchestra of the Royal Opera House Conductor:Koen Kessels Choreography:Liam Scarlett Music:Lowell Liebermann Designer: John Macfarlane Lighting designer:David Finn Projection designer:Finn Ross
Plus:Introduction toFrankenstein; Casting the ballet; Lowell Liebermann and Liam Scarlett on the music; John Macfarlane on designingFrankenstein; Darcey Bussell in the studio with Liam Scarlett and Laura Morera
Picture:16:9 Sound:PCM 2.0 / DTS 5.1 Surround Format:NTSC Region code:0 (worldwide) Duration: 130+14 mins Year:2016
"And what dancers! Laura Morera played Elizabeth, the hero’s love interest, and I have never seen her dance better... Steven McRae as The Creature somehow got us on his side as soon as he was conjured up, naked and gruesomely slashed... But the star of the evening, giving flesh and blood reality to Scarlett’s superb dance making, was the man in the title role, Federico Bonelli."The Sunday Express
"McRae’s portrayal is brilliant; his dancing is eloquent in its anguish, and we sense every beat of his lonely, vengeful heart..."The Observer
"The production has a cinematographic quality — not only from the projections and painterly sets (the scene in the bar with the medical students and attendant prostitutes could have been taken directly from Hogarth), but the adept way in which this classic plot is spun onstage." The Londonist