Frankenstein: A Lovely, Exciting, Murderous Dance in San Francisco
On the massive front curtain above the stage, drapped a painting of an anatomical human skull. Then animations from an invisible hand began scribbling arcane medical annotations. Inside the skull a ghostly, ephemeral, storm cloud swirls, and congeals in the shape of a human brain…and as the orchestra began its grand opening score, a chill ran through the audience on opening night at the San Francisco Opera House.
Lowell Liebermann’s musical composition began like a storm, and in that music one could hear the ferocious rain, cold, and wind, setting the stage for a monstrous tale of classical love, tragedy, and death.
The story of Dr. Frankenstein is one of the oldest and most popular myths in human history, beginning in ancient Greece with Prometheus. A theme of man playing God by defying death, and the inherent dangers that role encompasses.
There have been countless recreations of Mary Shelley’s Frankenstein since her book was first published in 1818. Shelley’s work was one of the best-selling novels of the 1800s, and in the age of film the story only grew in popularity. In 1931, Boris Karloff dawned a square head for a major motion picture with Universal, and Frankenstein became a Hollywood, ‘Monster Movie’ phenomenon.
In the following decades, the obsession continued and great artistic liscense was taken with the tale, there was ‘Bride of Frankenstein‘, ‘Son of Frankenstein‘, and ‘Frankenstein Meets the Wolf Man‘, there were comic books, lunchboxes, cartoons, and Halloween costumes until, eventually, as when any great piece of art becomes oversold, the satirist began their work.
Abbott and Costello Met Frankenstein, then The Munsters turned him into a sitcom Dad, and Mel Brooks turned the myth into a full-length Hollywood satire with Young Frankenstein.
But through all the commodification and pop culture rebirths, Shelley’s original tale has remained timeless. A story of a man named Frankenstein, who like Prometheus, sought to defy the Gods and create life himself.
Liam Scarlett’s Frankenstein at the San Francisco Ballet, doesn’t strap bolts to his creation’s neck or bother with superficial green makeup, it’s a retelling true to Shelly’s design, told through beautiful movement, music, art, and murder.
In the first act, care is taken to establish the characters and their familial relationships, the audience can feel the dancers’ compassion, closeness, and love for one another. The young, dashing Victor Frankenstein played by Joseph Walsh who falls in love with childhood companion Elizabeth Lavenza, (Frances Chung). A traditional theme of young romance, but set in a turbulent time for Europe, (late 1700s) when kings were being decapitated and peasants were revolting against their masters across the continent.
In the 2nd Act Victor finds himself at medical school, grieving over the death of his mother, and in his grief he searches for ways to reanimate life. The towering set designs of a university anatomy theatre are magnificent, while the steampunked explosions and animated lightning amp up the grandeur of Frankestein’s creation.
Wei Wang (the creature) expertly uses every piece of his body to show us the reanimation of a corpse. Scarlett’s monster is not lumbering around, thirsty for blood, he is a tortured creation searching for purpose and companionship. But he is denied and abandoned by his creator…
Wei Wang on his performance as Frankenstein’s monster, “The Creature not only wants love and acceptance. He’s seeking a common ground, just like any human would. In human nature, we want common understandings with one another. We want to be told we’re doing the right thing, but it doesn’t always happen. It’s the cruel nature of it.
When I dance the role of the Creature, there’s so much going on to make up the character. The most relevant feeling in this ballet for me is self-discovery. The Creature is trying to find answers for himself and find out why he’s not loved and left behind by his creator and society. “
In Act 3 the bodies start to really hit the floor, and young Viktor is pursued, haunted, and tortured by his creation. In a brilliantly choreographed sequence, the monster pursues Viktor on a crowded dance floor of a grand ball. Dodging and hiding between dancing couples, disappearing and reappearing on stage, and building horrific suspense as he plays with his prey.
I will not spoil the ending, although I will say it is deeply tragic and in many ways reflective of its creator Liam Scarlett’s untimely end. Where a young genius is ultimately crushed by the weight and consequences of his own creation.
Frankenstein at the SF Ballet is an exciting, touching, frightful, and dark dance with plenty of emotion and gravitas. I would highly recommend catching it this April/May.
FRANKENSTEIN
An Electrifying Tale of Life, Death, Love, and Identity
Runs April 26th – May 4th
San Francisco Ballet
Info & Tickets here
Pick Frankenstein Encore and one other program and save up to 20% off the single ticket price with a CYO Duet package.
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