Frankenstein from The Royal Ballet


Frankenstein from The Royal Ballet

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Tonight on this famous stage, witness an extraordinary creation...

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Not just of a famous and fearful creature,

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but of an electrifying new ballet.

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A classic tale comes vividly to life in music and dance...

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As the Royal Ballet presents an exciting new co-commission

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with San Francisco Ballet - Frankenstein.

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It's the brainchild of the choreographer Liam Scarlett,

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the artist-in-residence at the Royal Ballet.

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At 30, he's far the youngest person ever to create

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a full-length main stage production for the company.

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Frankenstein has gained phenomenal success.

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I think with Frankenstein, with Dracula, Jekyll & Hyde,

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they've been spun into something that the public can fear

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and admire and get drawn into.

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The stereotype around Frankenstein has gone so far from the book

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that what I really want to do is bring it back to how Shelley saw it.

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I want to show the public what Frankenstein is really about.

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It was a time of invention and discovery

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when anything seemed possible, and this evening,

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making the impossible seem easy is a formidable team of dancers.

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Federico Bonelli stars

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as the pioneering scientist Victor Frankenstein,

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with Laura Morera as his fiancee Elizabeth Lavenza.

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And Steven McRae takes the role of the Creature

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that Frankenstein brings to life one dark and stormy night.

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The beginning of the ballet starts with the childhood of

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Victor Frankenstein and the introduction of Elizabeth Lavenza.

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She's very kind,

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one of those people that is very warm and everyone really

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kind of loves her and she just lights up the room.

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She was adopted by the Frankenstein family and she becomes

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very close to Victor Frankenstein.

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Victor is interested in science and how things work and the unknown.

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Science was really moving forward and there was

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a sense then, maybe anything was possible.

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I think famous scientists would actually make

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a performance demonstrating the latest scientific discoveries.

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Just before Victor goes to university to study medicine

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and science and alchemy and all of the brilliant new things

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that the world has to offer, his mother dies.

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I would say that he is, in essence,

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maybe a little kid that cannot accept that his mother

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is not around any more,

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which instigates his desire to revive a dead body.

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The Creature is not human.

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The image of a human, but doesn't possess perhaps the mental

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or emotional capacity that a human has.

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Ready, and...

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One, three, five, six...

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Victor feels repulsion towards the Creature.

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And I just see him as, "Please, love me, love me, love me."

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He can't understand why Victor would love Elizabeth but won't love me.

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"I'm the one he created. Why wouldn't you love me?"

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You know, writing music is always a struggle because you're kind of

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creating something out of nothing.

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Having a story always helps because you know

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your kind of emotional trajectory.

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There are definitely themes and kinds of music associated with

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the different characters that come back and transform and progress.

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I wanted to find a musical vocabulary that was

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comfortable for me but also would not be anachronistic to the story.

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The fear of the unknown is a huge element in this piece.

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You think you're going in one direction and then one note

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or one step can put you off balance and switch you around in a second.

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I've been in the Royal Ballet for 21 years, coming up,

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and this is the highlight of my career.

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I've immersed myself in this project for nearly three years now

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and it is a labour of pure love.

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That's what you want when you are a ballet dancer,

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you want to have new roles created anew.

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Obviously you want to dance all the great classics but that would not

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be enough, you want to do the one that in the future

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will be considered as classics.

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There's a pressure on me for every piece - I want to do the best I can.

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My work is my passion and my pride and I love what I do.

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APPLAUSE

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SCORE BEGINS

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MACHINE CRACKLES

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APPLAUSE

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SCORE BEGINS

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APPLAUSE

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APPLAUSE

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APPLAUSE

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GUNSHOT

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CHEERING AND APPLAUSE

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CHEERING

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CHEERING AND APPLAUSE

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APPLAUSE

2:13:162:13:18

CHEERING

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