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What do you get when you mix horror, romance and a dash of humour? Ballet Victoria’s Frankenstein – a twisted gothic tale filled with unexpected moments, amazing athleticism and, of course, a monster you just might fall for.
Dr. Frankenstein’s creation comes to life on stage in Courtenay on Friday, November 1. Presented by the Sid Williams Theatre Society as part of their Blue Circle Series, Ballet Victoria injects new vitality into Mary Shelley’s classic tale with their trademark power and emotion.
The innovative production offers a fresh take on the iconic story by combining it with the romantic ballet Giselle, shifting seamlessly from macabre to moving. And just in time for day of the dead.
“I was just kind of playing a little bit by mixing a couple of stories, so there is some drama, romance obviously, and there’s quite a bit of comedy in the first act,” says creator and artistic director Paul Destrooper. “Essentially, we go from horror to fairy tale.
“The archetypes of love and peace versus rejection, fear and misunderstanding are there…. It’s kind of a Beauty and the Beast thing.”
His adaptation explores the themes of chaos and then acceptance through a fusion of contemporary and classical choreography, all set to an eclectic musical score. The result is a surprising and emotionally charged show he feels will captivate audiences. “It’s going to be a bit of a roller coaster.”
The production begins with Dr. Frankenstein toiling in his lab. “[It] focusses on the doctor harvesting parts, creating the creature and then the commotion that follows when it comes to life,” explains Destrooper.
To lighten the grim atmosphere, a useless assistant injects humour into the narrative by mistakenly bringing the wrong parts, reminiscent of Young Frankenstein.
As the story unfolds, the creature, brought to life with the heart of a recently deceased bride, escapes into the forest. There, it encounters a group of vengeful female spirits, inspired by the Wilis from Giselle, who were betrayed in love. Rather than hunting the creature, the women recognize that it carries the heart of one of their own. “These women actually nurture a love story between him and the corpse bride,” says Destrooper.
The narrative shifts from fear and dread to blossoming love in the ballet’s final act, culminating in a powerful confrontation between man and “beast.”
Destrooper emphasizes that a key element of the performance is its dynamic musical score. In the first act, the music captures the chaotic creation process with a varied mix that includes tango, Enigma, Verdi’s “La Forza del Destino,” “Moonlight Sonata” and tracks from Life is Beautiful. “It’s almost like a film soundtrack, with transitions that flow unexpectedly yet seamlessly.”
In contrast, the second act takes a more traditional approach with music drawn from Giselle. Compositions by Adolphe Adam offer a classical framework to underscore the romantic transformation in the story. This shift allows the dancers to engage with challenging and technically demanding solos of the traditional ballet.
For Destrooper, the balance between contemporary innovation and classical discipline is crucial. “It gives the dancers a chance to sharpen their teeth on difficult solos and bring their own interpretations to these characters.”
This focus on character depth and creative expression aligns with his inspiration for tackling Frankenstein, which arose from the growing trend of horror themes in ballet. With stories like Dracula and Dr. Jekyll and Mr. Hyde becoming increasingly popular, Destrooper notes, “Ballet has always had creatures and monsters in its history, but Frankenstein sparked a whole new genre.”
To realize this vision, a cast of 14 dancers, including five newcomers to the troupe this year, delivers the energy. Hailing from companies like the Royal Winnipeg Ballet, they each bring depth and versatility to their roles, particularly in the challenging task of blending acting with dancing.
“I really love the acting in this production, as it’s more cinematic and less traditional ballet pantomime, which can be a bit weird sometimes.” He notes that the dancers’ ability to fully immerse themselves in their roles gives the production a cinematic quality that sets it apart from traditional ballet.
Audiences across southern British Columbia will soon have the chance to experience this unique take on Frankenstein, as Ballet Victoria premieres the production in Victoria, followed by performances in Courtenay, Revelstoke, Nanaimo and Salt Spring Island.
After Frankenstein, the company’s season includes the annual Nutcracker in December, then a performance based on the medieval masterpiece cantata Carmina Burana featuring two grand pianos and a 100-voice choir, before closing with A Midsummer Night’s Dream and Mendelssohn’s whimsical score.
Destrooper hopes to add Frankenstein to the company’s repertoire for future revivals, confident that its engaging mix of genres will resonate with audiences. “It’ll be very different from what audiences have seen before.”
Don’t miss this one-of-a-kind production that beautifully blends horror and humanity.