It’s a gorgeous and glacially paced work, lit in golden tones on a stage blanketed with rice, resonating with the heavy harmonies of Georgian folk song.
McRae’s portrayal is brilliant; his dancing is eloquent in its anguish, and we sense every beat of his lonely, vengeful heart.
Whether they are slowly traversing the stage, their bodies contracted, gnarled branches in hand, or thrashing in the rice sending it swirling across the floor, each action is as pure and meaningful as the image of the monk, stood lost in meditation.
The reanimation scene is worth the price of admission with MacFarlane’s set snapping, crackling and popping as strange steampunk galvanic devices descend from above and bubble green liquid at the side.
As a whole, Frankenstein shows impressive confidence. Scarlett is assured in his use of a large cast, and there are beautifully shaped dances.
Liam Scarlett is a talented abstract, neoclassical choreographer, but his Frankenstein is the least enjoyable full-evening work I have ever seen the Royal Ballet perform.
In Liam Scarlett’s new Frankenstein for the Royal Ballet, it’s not the monster who gets top billing. Instead, Victor Frankenstein (Federico Bonelli) and his fiancée Elizabeth (Laura Morera) are at the centre of the story.
There’s a very powerful work at the heart of this ballet, yet Scarlett needs to cut and cut again to set it free. And given the amount of money that was spent on the production, the Royal should insist that he does.
Breakin’ Convention, now in its 13th year, is one of the great success stories of dance venue Sadler’s Wells.
With a bounce in their steps and looks of mischief, they twizzle into pretzels, play amazing tricks with floating hats and turn their limbs into skipping ropes and Hula Hoops.
This is also the era of voguing, and sure enough the dancers are going through the poses with mannered solemnity. But they are also imitating the sprezzatura of the Renaissance aristocrat who has read Castiglione’s famous The Book of the Courtier.