The Royal Ballet: Frankenstein, May 2016

[mshovelt]

It's taken me a while to get my thoughts together on this, so this is a bit of a delayed review. I went to see the Dyer/Lamb/Kish performance last Friday and overall I really enjoyed the ballet. In apparent contrast to the majority, I quite liked Sweet Violets and Age of Anxiety (the former more than the latter) and so was quite hopeful about this production, especially after having watched the Insight video on YouTube; Liam Scarlett came across really well, in how he conveyed what he was trying to achieve to the dancers. My appreciation of the performance was also in sharp contrast to the gentleman sat immediately behind me who muttered "Thank Goodness" the moment the curtain hit the stage and then proceeded to barge his way out. Thanks for that.

 

I feel that, with narrative ballets, I get a lot more out of the experience if I already know the story and can appreciate the various perspectives of the protagonists. It's one of the things that, for me, differentiates ballet from any other narrative art form: I don't go to be surprised by a twist in the story; "spoilers" don't spoil it at all; the story is entirely subservient to the performance (IMHO); and, my enjoyment of a ballet usually increases with each viewing (as I long as I liked it at least a bit in the first place!). So I went to the theatre, having done some homework, and fully wanting to buy in to the whole experience of the ballet. Looking at the cast sheet reminded of my disappointment of not seeing Vadim Muntagirov and Marianela Nunez; but, hang on, what's this?: Francesca Hayward AND Gary Avis!? Well that more than makes up for the disappointment!

 

So, on to my thoughts on the performance. A couple of provisos though: I haven't been watching ballet that long (only a few years) so will not have spotted copied or cliched ideas as well as some others on the forum. Also, I was sat in the middle of the stalls, so had a pretty much perfect view. In Act 1: I really liked the clever transition from young Victor/Elizabeth to their older selves. I also liked the way that his mother's death was handled; having it happen behind closed doors makes you focus on the effect it is having on Victor and Elizabeth. Then, the way that Mendizabal entered the room (with the bad news) and visibly steeled herself at the door before moving slowing across to Victor, was really moving. As was Gary Avis's heartbreaking portrayal of the widowed father. Moving on, the dissection scene went on a bit long I thought, and was a bit silly. Still Bennet Gartside was excellent as the professor and the scene did serve to bring Victor and Henry together and identify them as social outsiders. This was reinforced by the tavern scene which was quite fun. The reanimation of the creature was very well done (they may have overdone it a little with the flashes and bangs) but, as others have said, it was a bit odd that the creature ran away rather than Victor, which would have made more sense.

 

Reading through the synopsis at the interval, a terrible realisation dawned: there going to hang Francesca Hayward! They can't hang Francesca Hayward!!! I almost didn't want to watch that act. Glad I did though as Kish's performance as the creature was excellent and you really did feel for him; especially during the notebook scene (which was covered in detail during the Insight, so I was well prepared for it). Obviously, it is a bit of a stretch to believe that it was the first time in 7 years that he had put his hand in the pocket; but I'm prepared to let Scarlett have that one as the scene was beautifully choreographed. Also, Dyer's performance, excellent throughout, was a revelation from this point: wracked with guilt; unable to tell anybody; aware that bad things were coming and that it was all going to be his fault. One bit of plotting that was disappointing was the: "Justine is guilty because she's got the locket in her pocket" bit. Well, she was carrying him, why shouldn't she have it? Then they hanged Francesca Hayward and I was sad. (but it was admittedly done well).

 

The waltz, in Act 3, was probably my favourite of the "big" dances and I thought Liebermann managed to produce a piece of waltz music that had at least some degree of originality about it (which is some feat). I also thought the creature hallucinations were quite effective - it seems fair to think that the creature would be stealthy enough to remain unseen whilst still being in the forefront of Victor's mind; that's how I read it, anyway. Henry's solo reminded me very much of Mercutio's, in way of its context. I didn't see Gary Avis lie down on the steps and "die"; from my viewpoint he was obscured by the wedding guests and we only got to see his body when it was discovered; which is probably how it is meant to be.

 

I enjoyed all the big PDDs; all very Macmillan, as others have said, but still very good in their own right and brilliantly danced. Good performances by all the principals, especially Dyer and Kish. Hayward excellent as ever but in a limited role - it's funny how you end up watching her in preference to the principals; sometimes even when she's not doing much. James Hay also deserves a mention. The music was ... ok I thought. Not terribly inspiring but not boring either.

 

Sorry for the long and rambling review... In summary, really enjoyed it and would quite like to see it again.

 

(edited for formatting)

Edited May 9, 2016 by mshovelt

[mshovelt]

For some reason, all my paragraph breaks were removed from that post. Not sure why ...

[taxi4ballet]

Would it be considered a bit too scary for Christmas?

Well, EastEnders is always on the TV on Christmas Day afternoon, and that's usually pretty horrific

[capybara]

So much has been written by critics and on this thread (for which thank you everyone) that it is difficult, at this stage, not to repeat views which have been expressed already. My main thoughts and impressions after two viewings are:

 

·         overall enjoyment of the work despite its flaws

·         huge respect for Liam Scarlett in tackling this subject and realising his first full-length ballet

·         wanting to congratulate all the dancers involved, especially those taking the leading roles; it is a piece which displays the acting strength of both individuals and the RB as a whole to great advantage

·         that the main storyline is very clear (despite some of the diversions and idiosyncrasies offered by dancing for the corps, the mystery of Victor’s father’s death at the bottom of the stairs, and the difficulty (from some parts of the house) of spotting the Creature lurking in the trees)

·         given that Victor and the Creature are the characters which drive the story, they need to interact in the Lab. at greater length to establish Victor’s revulsion and the better to show his horror of what he has done; as so many have said, having the Creature rush straight out doesn’t work well ; I needed to feel his rejection and yearning for love before he ‘goes missing’ from the next part of the ballet

·         as she is currently written, Elizabeth doesn’t feel fully fleshed out  - she seems to be there mainly as a vehicle for some over-long and somewhat similar pdd; in the second cast, the height of Lamb compared with Dyer didn’t help here

·         partnering apart, Victor doesn’t seem to dance a great deal – was there no scope for a solo in the context of one of the pdd or a longer (anguished) soliloquy?

·         the sets are wonderful; not so sure about the pyrotechnics in the Lab., though

·         the music, while pleasant enough, is insufficiently differentiated to underline the drama at key junctures

·         there is scope, perhaps, to prune some of the corps routines at the house in Act 1, to adjust the ‘body parts’ sequence in Act 2 (is it meant to be comical?) and to shorten the La Valse sequence in Act 3

 

Now looking forward to more shows and the cinema relay.

Edited May 9, 2016 by capybara

[Jan McNulty]

I've moved the posts about choreographers tweaking works to a new thread as this thread had gone way off topic:

 

http://www.balletcoforum.com/index.php?/topic/12494-choreographers-tweakingreworking-ballets/

[alison]

as she is currently written, Elizabeth doesn’t feel fully fleshed out  - she seems to be there mainly as a vehicle for some over-long and somewhat similar pdd; in the second cast, the height of Lamb compared with Dyer didn’t help here

I wouldn't be surprised if that had something to do with Laura Morera being injured during much of the gestation period. Perhaps that too is something which will be revised.

[MargaretN7]

As regards the creature and the book. I see it, not finding the book for the first time, but having seen William learn from his book with Justine, the creature realises he can learn from the book in his pocket.

[Sim]

That's a really good theory, Margaret, and makes a whole lot of sense!

[Bruce Wall]

As regards the creature and the book. I see it, not finding the book for the first time, but having seen William learn from his book with Justine, the creature realises he can learn from the book in his pocket.

 

I thought with the book it would be a really simple issue to make a tad more potent ... If Victor - at the climax of the creation near the end of the first act - when he feels that it probably isn't going to work ... his experiment that is ... he could throw the book down centre stage front ... in frustration ... and then prop himself against the surgery table ... in readiness for the big surprise.  Once Victor has been both amazed that his applied learning has worked at all .. and then realised that he is horrified by what he has created and the responsibility of the same ...Victor would dash out ... as the creature smashes the Victorian body samples that surrounds him in the fervent hope that he might never be re-created again ... Then Henry runs in - the creature appeals to him too - but Henry flees in pursuit of Victor - thinking he might have come to some harm.  The creature is alone.  He approaches the front of the stage and reaches his hand out to the viewing audience .... He looks down and finds the book. Awkwardly he paws it .... finally realising the pictures drawn are all of him.  Suddenly he drops it ... and looks front.  There is hope.  Lights out ... or, if wished, fade to black  

 

This way --- when the creature eventually pulls the book out of the pocket in the next act ... and is seen to cherish it ... we will best know the why.  Here that book itself - so key in the second scene of the second act - will have taken on additional weight by the defining characteristic of the original man himself ... and beat the odds  

[Mimi]

The Problem of the Journal is partly a source issue, because the Creature doesn't mention it at all until he describes learning how to read.  He really was just lugging it about in Victor's stolen coat.  Unfortunately, there's probably no good way to convey that the Creature was reading Goethe, Plutarch, and Milton...

[bridiem]

Yes, that's a really important aspect that's missing from the ballet - the development, learning, and understanding of the creature over a period of time, so that he comes to love human beings and yearns to be accepted by them (and believes that he can be/will be, because he sees the good in humanity). It's what makes the work a tragedy rather than just a horror story.

[alison]

And something that really can't be covered adequately by just a programme note.

[Jacqueline]

Well, EastEnders is always on the TV on Christmas Day afternoon, and that's usually pretty horrific

Especially when they have one of them 'fairmly' dinners! Another sort of carve up I suppose.

[Bruce Wall]

Especially when they have one of them 'fairmly' dinners! Another sort of carve up I suppose.

 

With fewer flashing lights perhaps ... but I'm sure just as many sparks  

[Duck]

I returned my remaining ticket for The Winter's Tale in exchange for another view of Frankenstein last night. I'd been so impressed by Tristan Dyer's performance of Victor on 7 May that I went for last night's cast. I like the way he shows Victor's inner torment and equally how he handles the 3 PDD with Sarah Lamb, and I've come to the conclusion that I'd like to see him as Rudolph in next year's run of Mayerling.

 

I previously hadn't observed how Victor's father comes to lie dead on the stairs so I was paying particular attention to this part last night. Last night, he seemed to be thrown onto the staircase from behind the stairs (rather than walking back on stage and once there, mysteriously, being killed).

 

Immense applause from the audience before the start of act 3, and standing ovation towards the end of the curtain calls from most of the stalls last night.

[capybara]

.... and I've come to the conclusion that I'd like to see him as Rudolph in next year's run of Mayerling.

 

 

This is so interesting. I have seen Tristan dance Victor twice and his characterisation seemed rather bland to me.

[Duck]

This is so interesting. I have seen Tristan dance Victor twice and his characterisation seemed rather bland to me.

 

Yes, there'll always be different opinions    I didn't see the performance on 6 May though in case this was different.

[Don Q Fan]

Anyone going to the cinema tonight or live performance for that matter you can

 

download the Digital Programme free from ROH using promo code FREEFRANK

 

I did from my phone And it's got lots of content. It goes into your ROH account.

[Don Q Fan]

Would it be considered a bit too scary for Christmas?

 

Hope I'm not scared witless tonight!  I don't like scary things, although I'll happily handle spiders etc.

[Sim]

I don't think you have any fear of being scared witless tonight DonQ.  Not by the ballet, anyway!!

[JennyTaylor]

I saw it for the first time last night and came away not knowing what to think - which for is a conundrum. Usually I hate or love, very rarely neutral. My overwhelming desire was to see it again, though, so that's positive. Compared with Raven Girl and Strapless which were - never darken my doorstep again (hated RG and S was boring). 

 

Having read the many flavours of reviews I can see everyone's point of view.

 

So, for me

Enjoyed Act 1 but not blown away

Act 2 - left me cold. Despite the dramatic story line

Act 3 - finally got some emotion going. 

 

Obviously a lavish production with no expense spared - costumes, scenery. pyrotechnics - but was there emotion?  For me, very little.

 

Dancers could not be faulted - loved Tristan Dyer and the amazing James Hay in particular.  I felt Ryoichi Hirano was slow to get going, but came into his own in Act 3.

 

I agree with everyone that the Creature was sadly underused.  So much potential to show how much he wanted to be loved and the pain of rejection but this only really came to light in Act 3.  Some rewrites please for every interaction he has. This would create SO much more pathos.   Some of the set pieces could be cut to compensate.

 

For me Act 3 was the Cinderella ball because of the music and dancing though I can see La Valse. The music overall did nothing for me, but I need to see it again as I can something be slow to assimilate. For me it was pleasant but I didn't leave with a single tune in my head. 

 

So, I am left feeling rather frustrated. So much promise, yet...........

 

Let's hope they take the feedback on board, because it could be brilliant. 

[Mary]

I would agree Jenny, very much a curate's egg of a ballet and the opportunities to show emoitons so often not exploited to the full, or overwhelmed by the effects etc.

 

I've just seen the live screening.

 

What splendid performances and acting all round, especially from Bonelli whose elegant athleticism was displayed to great effect, and McRae whose sinister yet pitiful creature was really frightening. Campbell did a wonderful comic turn-what a delight he is- (the choreography strangely morphing into Mercutio complete with sword flourishes and drum rolls) but it seemed out of place in the ballet.  Morera, one of my favourite dancers,  seemed under-used to me- such a dull role for her - 'a really nice lady...who loves the  hero..' really, there is not much for her -such a powerful dancer and actor- to do with this. The whole cast acted their socks off, and again I was very taken with Gartside's acting and the regal presence of Elizabeth McGorian lent considerable tone. But ....

 

But so much was so predictable. As others have said there are many,many borrowings all the way through, which are hard not to notice, and this was distracting.

I was very impressed by the overll achievement, and the sets were wonderful. But it was somehow exhausting. Such forceful, unsubtle melodrama, going on so long,  was rather like being repeatedly slapped in  the face.

 

I detested the silly  lab scenes, (which, in technicolour close-up made the audience giggle as Victor  rummaged in a goodie bag and pulled out odd  limbs)-it  was just absurd as well as gruesome; and the hanging-so unnecessary, can we not use our imagination?

In a way this is perhaps the problem with the Creature:  too much make- up gets in the way, when in fact it should be down to the dance and the dancer to create  a creature for us, rather than this horrible prosthetic, which must be difficult for the dancers to have to act through.

 

Also, the  tavern scene with prostitutes in, of course, curly red wigs, lifting their skirts-please. We've seen it all before.

 

But I thought there were some very good pas de deux, especially in Act 3, between Victor and the creature, when the ballet started to really take fire- but a bit late for me.

I think this kind of male pas de deux is a very good area for Scarlett to explore, so much scope to do new things here. Bonelli and McRae were marvellous together. I would like to see this again without the make-up.

 

Maybe this will be a popular hit which is good perhaps. But it could be better as many others have said.

[Odyssey]

I so want to be able to share in the enthusiasm of the Twitter comments posted during the intervals at the cinema screening, but I have come away quite underwhelmed. Yes the staging is clever and the performances from all the dancers extremely praiseworthy, but with the possible exception of some of the choreography for the Creature, I found much of this quite bland. I struggled to find the relationship between Victor and Elizabeth engaging - probably because I don't think this is at the heart of the novel, but rather the relationship of the creature to his maker, and Victor recognising something of himself in what he has created. The score didn't seem to help either, with many passages providing a background rather than either accentuating the drama or conveying a subtle unsettling atmosphere. The pas de deuxs for Victor and Elizabeth were pleasant to watch but failed to stir. This experience has made me think about how rare a jewel a strong three act ballet is . Incidentally, It has also made me appreciate the qualities of The Winter's Tale, which although not perfect, does have moments of dramatic intensity conveyed beautifully through some interesting and inventive choreography. Which leads me to my final thought that it is still worthwhile taking a risk on commissioning a new three act ballet.

[Mummykool]

 

Campbell did a wonderful comic turn-what a delight he is- (the choreography strangely morphing into Mercutio complete with sword flourishes and drum rolls) but it seemed out of place in the ballet.  ....

 

 

 

 

 

 

James Hays' characterisation was completely different and made much more sense. His Henry was hapless rather than a 'lad' and, as another misfit, logically drawn to Victor. He was absolutely wonderful on Tuesday night, as was Frankie Hayward as Justine.

 

We took a friend to cinema last night and she absolutely loved it. She had never seen a ballet before and now wants more.....preferably dramatic rather than romantic as she was less interested in the love scenes. 

 

It was our third viewing of Frankenstein and it really does seem to get better each time. I agree that Act 1 starts very slowly and could do with pruning, but from the lab scene onwards everything is just fine by me. The lab needs to be gruesome (it is a horror story) and I'm sure if you changed the colour of their wigs the harlot scene would not have come in for so much criticism. I think that scene is important as it emphasises Victor's single-mindedness to his studies and Henry's inability to fit in.

 

The dancing last night was superb. The cast seem to have grown into the  roles since opening night and this time around I did feel sorry for McRae's creature at the end. There was an audible sigh in the cinema at the very end of Act 3. One lady came up to us afterwards and said it was the best thing she'd ever seen.

 

Personally I think Liam Scarlett has done a wonderful job and that this one is a keeper. A lot of people didn't like Alice when it opened but it has proved extremely popular. Personally I don't like Winter's Tale but everyone else seems to. It's a good job we are all different!

[Angela]

I saw the screening at a German cinema yesterday and I felt like I was beamed back 50 years. Why does a story ballet of 2016 have to look like something that was made in the 1960s or 1970s? Every other art has developed further. I don’t mean dance theatre à la Pina Bausch, but isn’t it possible to tell a story with elements that are a little more sophisticated than just a straight, bland narrative? Mirroring a character, having his alter ego dance, his imaginations, his thoughts – it’s all been done before. Use inserts, dreams, flashbacks, make his fears dance instead of the servants! Leave the decor, get to the inner conflict. Why not cut the corps de ballet if you don’t need it for the dramatic truthfulness of the action, why not concentrate on the main characters? Do you want to make a credible work of art or do you want to follow a well-trodden pattern? I love classical ballet, but this evening was so terribly stuck in a conception of yesteryear that I started to long for a Mats Ek step, a John Neumeier idea ... Try something new, even if it is in small doses. Move on! Why is that so hard in ballet?

[Fiz]

It had us both on the edges of our seats last night, I didn't sleep and I can't get it out of my head. We are going again on Sunday. Surely that is the hallmark of a good ballet and an excellent ballet company.

[alison]

Leave the decor, get to the inner conflict. Why not cut the corps de ballet if you don’t need it for the dramatic truthfulness of the action, why not concentrate on the main characters?

 

Good point, Angela.  When I got to the ROH on the first night, I looked at the cast sheet and noticed the lack of any credit to additional dancers of the company, students or JAs, and thought: "Oh good.  He's done a chamber ballet, concentrating on the protagonists."  I think it might have been better that way, for the most part.

[zxDaveM]

Good point, Angela.  When I got to the ROH on the first night, I looked at the cast sheet and noticed the lack of any credit to additional dancers of the company, students or JAs, and thought: "Oh good.  He's done a chamber ballet, concentrating on the protagonists."  I think it might have been better that way, for the most part.

 

The ballroom scene needed ballroom dancers, for the Creature to hide amongst. The 'corps' were used as the maids etc. in act 1, as a way of helping show a happy and harmonious home - until tradegy struck (well, that's how I read it anyway)

[Mary]

Yes, I agree, but, this was a major 3 act work for the company and the Opera House- would a chamber piece have been appropriate? It seems to be there is a lot of pressure to produce something spectacular.

[Don Q Fan]

I saw the cinema relay and loved it.  I thought it was great.  OK a coudple of bits were overlong but that can be trimmed I am sure.  I have to heap praise on the young boy who played Young William I thought he was marvellous.  Bonelli, McRae, Morera were just great as were Campbell, Gartside, Hinkis and McGorian in their supporting roles. 

The Act 3 ballroom scene was pretty much BRB's Cinderella and when I checked I was right, John McFarlane also designed BRB's Cinderella costumes so that's why it looked SO familiar to me!  However I loved that scene, it's my kind of ballet.  The pdd at the end between Bonelli and McRae was fabulous and those lifts were all the more amazing considering it the was the end of a long ballet. 

I would definitely like to see it again and with the second cast.  I was not frightened at any time as I had feared and the music was inoffensive, i.e. it didn't stick annoyingly in my mind.  Having seen some of the sets and costume designs earlier this year on an Inspiration Day at the ROH Thurrock warehouses it was great to see them on stage and in use.  I was chuffed that the costume my team on the workshop designed on a dummy was pretty much what Victor was wearing too!

To the broadcast itself - Darcey seems to have finally settled and seems much better co-hosting with the chap from BBC Sport/World Ballet Day.  I really enjoyed the behind the scenes snippets as well which is why I like the relays.

[Fiz]

Young William was a revelation! I cried real tears. Steven McRae moved me as he has never done before and I adore Bonelli anyway and Laura Morera was a dream. I am such a fan girl for the Royal Ballet but I am not uncritical and their dancing last night seemed flawless.

[FLOSS]

Personally I don't see the pressing need to create new three act works that Mr O'Hare seems to feel. If the 2020 season is only going to include works that have been created during his tenure as director I think that it will be a very cheap one for me. Having said that I think that Ismene Brown's Spectator article is, way, way, over the top, as she seems, as far as I can see, to be asking for the AD's head on a silver salver because of the dire quality of the new works that we have seen this season. Acosta's Carmen might just be explicable as repaying the debt the company felt it owed to a dancer who had given so much to the company, but to follow that up with Wheeldon's Strapless and now Scarlett's Frankenstein does require some explanation as to the part that the AD played in the oversight of these creations

 

A choreographer either has the ability to create characters in dance or he/she doesn't.If a choreographer has that ability it will show itself fairly early in his/her career. I don't think that there is a set failsafe formula for the creation of a narrative ballet whether it is a one act work or a two or three act one except the ability to tell a story in dance. I don't think that there is any need to be choreographically innovative in creating such a work but the choreographer must through the design, music and his own choreography be are able to establish the period and place in which the action takes place, create the different characters who appear in the narrative and justify the presence of every dancer who appears on stage during the course of the ballet including the corps. If a dancer, or dancers do nothing to establish the mood or carry the narrative forward they should not be on stage. The only exception to this rule is the presence of dancers to cover a scene change or whose presence ensures that the main characters make it to the end of the last act, such scenes should be devised so that they are as short as possible and effectively disguise their primary function.

 

It is not entirely clear but somewhere along the way those involved in the process of creating new ballets at Covent Garden seem to have lost sight of the fact that many of the greatest ballets were created in a collaborative process which involved creative artists and non creatives. Diaghilev did not leave the creation of the great one act works that we associate with his company entirely to his choreographers and their artistic collaborators. The company's products were far more the creations of a committee which included him, than of a single supreme choreographic genius. Unfortunately we have all been encouraged to see those works, and the works of choreographers such as Ashton and MacMillan in those terms.

 

I am not suggesting that the AD should try to hijack the creative enterprise but I do think that he should be more obviously involved in the process than currently appears to be the case, if only to satisfy himself that the works are likely to be effective theatrical pieces. At present there seems to be no one willing or able to require changes to those elements of a work that seem to stand in the way of its success, such as lack of focus in the narrative; the presence of unnecessary characters and incidents and sections that seem to be little more than choreographic doodling. If the AD does not feel suited to the task himself, then perhaps he should find someone who is. I am not suggesting that we should demand blistering masterpieces from every choreographer whose work makes it onto the main stage but it would be nice to think that more would work as theatre.

Edited May 19, 2016 by FLOSS

[bridiem]

I saw the screening at a German cinema yesterday and I felt like I was beamed back 50 years. Why does a story ballet of 2016 have to look like something that was made in the 1960s or 1970s? Every other art has developed further. I don’t mean dance theatre à la Pina Bausch, but isn’t it possible to tell a story with elements that are a little more sophisticated than just a straight, bland narrative? Mirroring a character, having his alter ego dance, his imaginations, his thoughts – it’s all been done before. Use inserts, dreams, flashbacks, make his fears dance instead of the servants! Leave the decor, get to the inner conflict. Why not cut the corps de ballet if you don’t need it for the dramatic truthfulness of the action, why not concentrate on the main characters? Do you want to make a credible work of art or do you want to follow a well-trodden pattern? I love classical ballet, but this evening was so terribly stuck in a conception of yesteryear that I started to long for a Mats Ek step, a John Neumeier idea ... Try something new, even if it is in small doses. Move on! Why is that so hard in ballet?

 

I don't think it's hard in ballet, and it has as you say been done by other choreographers and no doubt will continue to happen. But that doesn't mean that every new work has to develop the art form, or be innovative. Just as every novel doesn't have to be experimental. What matters is that a work is good, whether or not it's innovative in form.