IT’S ALIVE!
When you think of the Frankenstein story, what comes to mind? The mad scientist in the lab hovering over a green corpse when lightning strikes and electrifies the monster into reanimation — “It’s alive!” you might find yourself saying. But what if I told you Victor Frankenstein never actually uttered those words, at least in the original novel. For a story retold countless times now, Mary Shelley’s 1818 novel Frankenstein; or The Modern Prometheus is actually fairly tame. It’s the adaptations in film and other media that have turned the story into the myth that it is today. Each reimagination of the story adds depth and originality to its history that continues to shape and evolve it over time.
Amanda Assucena and José Pablo Castro Cuevas
Christine Rocas
Oliver Reeve Libke, Caroline Price, José Pablo Castro Cuevas, Amanda Assucena
And last night, Joffrey Ballet’s presentation did just that, honoring the late Liam Scarlett‘s masterful interpretation, here staged by Kristen McGarrity, Laura Morera, Lauren Strongin and Joe Walsh. In a display of thoughtful arrangement, engaging presentation, and gorgeous movement, Joffrey has certainly lived up to the myth’s expectations. Following the story of Victor Frankenstein as he makes his Creature and faces the consequences of it, the company brought nuance and flair to a tradition that demands it.
Amanda Assucena and José Pablo Castro Cuevas
The Joffrey Ballet Ensemble
Dylan Gutierrez and The Joffrey Ballet Ensemble
Undoubtedly done well, each element of the experience was clearly thought out and curated to high standards. The performers moved with synergy; their grace and chemistry inspired and truly captivated. Lowell Liebermann‘s scintillating score, played live by the Lyric Opera Orchestra tightly conducted by Scott Speck, and the impressive scenic and costume design by John Mcfarlane made for a most balanced show. Scarlett took a misunderstood but ubiquitous plot and turned it into performance art without compromising on quality. The complex story was understandable even as the dancing was thoroughly absorbing.
The Joffrey Ballet Ensemble
José Pablo Castro Cuevas
José Pablo Castro Cuevas
The show’s creative direction was similarly impressive. Mcfarlane’s set was equal parts engaging and complementary, using materials strategically to add to the narrative being presented without detracting from the show’s coherence. His costuming was similarly period-accurate, admittedly dulled but in a sophisticated way. I found that the design and direction of the show was immersive: bringing elements of the gothic to the modern in a way that captivated tacitly.
There was a moment, however, that gave me a small pause. At one of the most climactic moments of the show, the animation scene of the Creature coming to life, a contraption is lowered from the rafters. It is the electricity machine that will enable the Creature’s life. It begins to spark and bang, sending flashes of light into the awe-struck audience (lighting design by David Finn). Yes, it was very entertaining. But also — distracting. As the spots in my eyes started to clear I realized how much of Victor’s dancing I had missed while watching or being blinded by the special effects. It seemed that the production valued the melodrama of the machine over the elegance of the dance itself. As the spots in my eyes started to clear I realized how much of Victor’s dancing I had missed while watching or being blinded by the special effects. It seemed that the production sometimes valued the melodrama of the machine over the elegance of the dance itself.
José Pablo Castro Cuevas
Jonathan Dole and José Pablo Castro Cuevas
Jeraldine Mendoza and Sheppard Littrell
I think the show’s shining moment came towards the end in Act 2 Scene 1, as the Creature, played by Johnathan Dole, performed his heartbreaking solo. In a balance of heavy and soft, light and dark, Dole was able to capture the contradictions and conflicts of his character in movement alone. His craft was masterful, never missing a beat, and such a visually pleasurable experience. The Frankenstein story was epitomized in the movement of dance alone, an impressive feat of fine art that left me in awe.
Jonathan Dole
Sheppard Littrell, Jonathan Dole
José Pablo Castro Cuevas and Jonathan Dole
Yes, the show was balanced, but I do believe it was also slightly disharmonious. Each scene was stunning individually, but inconsistent across the show. Take, for example, the expressions of the dancers. At the beginning of the show, their acting was understated, a verisimilitude of daily life. But in this moment of electric shock, among others, it seemed that melodrama was winning. In certain scenes, the performers were overstated. Both stylistic choices remain entirely valid and were executed well, but I felt the inconsistency between them displacing.
The Joffrey Ballet Ensemble
José Pablo Castro Cuevas and Amanda Assucena
José Pablo Castro Cuevas and Jonathan Dole
Another point where I felt inconsistency came in the costuming. As aforementioned, most attire was very period-appropriate, displaying an enjoyable realism that kept me immersed in and focused on the story at hand. However, in the final act, the costumes change into something more glamorous. The backdrop transitioned to some sort of galaxy print scene (projection design by Finn Ross) and the dress turned too contemporary. While the construction of the costumes themselves were stunning, they felt abrupt to transition to from the earlier scenes.
Overall, Frankenstein is certainly worth a watch. The craft of the dancers alone is enough, but the thoughtful construction of the production at large was, despite my criticism, quite enjoyable. While Victor did not say, “It’s alive!”, the performance surely was.
photos by Cheryl Mann
Frankenstein
The Joffrey Ballet
Lyric Opera House, 20 North Upper Wacker Drive
Thurs-Sat at 7:30; Sat & Sun at 2
ends on October 22, 2023
for tickets, call 312.386.8905 or visit Joffrey
for more shows, visit Theatre in Chicago
