Brussels based Argentinian dance artist, Cecilia Lisa Eliceche explores Unison, not only through the choreographic act of a group performing the same movements together, but also what it means from a political a… Continue Reading
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.