Introduction
“Frankenstein, The Modern Prometheus” is a ballet by Canadian dancer and choreographer Wayne Eagling, his second production with an original Vangelis score after the 1983 “R.B. Sque” ballet performance for Amnesty International. The ballet premiered on the 26th of July 1985 at Covent Garden in London, performed by the Royal Ballet of the Royal Opera House.
The ballet is an adaptation of Mary Shelley’s 1818 classic novel about Doctor Frankenstein who, in search of truth through forbidden knowledge, creates a living creature thus acting like God, behaviour that in Greek mythology is associated with Prometheus. Frankenstein was the first opportunity for Eagling to create a performance for the Royal Opera House, and despite its low £10k-£15k budget it featured top costume designs by Elizabeth Emanuel and original music by Vangelis (both were donated to the production for free). Apparently Vangelis received a financial offer from Covent Garden for his music, then phoned Eagling to tell him that it was so embarrassingly small that he would do it for free.
According to Wayne Eagling there were some problems with the production, as he had fights with the musicians’ union over what the orchestra would play since Vangelis’ music was fully electronic. The orchestra was given a prominent role during the performance as at one point it rose from the depths of the stage, playing all the while. Another issue was that initially Gail Taphouse was cast for the role of Elizabeth, but she injured her knee just before the premiere and Lesley Collier had to learn the part in a week which fortunately turned out fine.
When asked Wayne Eagling disclosed that he made Frankenstein for his father and others who disliked ballet and were usually dragged along to a performance. He tried to popularise ballet and make it accessible to a wider audience, which was not appreciated by theatre critics. The audience however loved the ballet, as was clear from the premiere performance where curtain calls went on for nearly half an hour, some of the most enthusiastic response ever seen at a Royal Opera House premiere.
The next year Eagling and Vangelis would cooperate once more on another ballet production for the Royal Opera House, i.e. “Beauty And The Beast” (1986).
Frankenstein, The Modern Prometheus was later re-staged by Wayne Eagling in London in 1986 and 1989, as well as on stages in Milan (1987) and Amsterdam (1993 and 2000).
Details and credits
(Royal Opera House performances)
- Choreography by Wayne Eagling.
- Music by Vangelis.
- Set design: Elizabeth & David Emanuel
- Scenario: Antonia Douro
- Lighting: John B. Read
- Scenery, costumes, properties, wigs, millinery and fabric-dying: Covent Garden Production Department
- Additional costumes: Willy Burt and Vin Burnham
- Jewellery: Sue Sigmund
Cast
- Wayne Eagling – Doctor Frankenstein
- Stephen Jefferies – Doctor Frankenstein
- Lesley Collier - Elizabeth
- Jonathan Cope – The Creature
- Punks: Sandra Conley, Sharon McGorian, Phillip Broomhead, Antony Dowson, Michael Coleman, Elizabeth McGorian, Nicola Tranah, Peter Abegglen and Simon Rice.
- Ballroom guests: artists of the Royal Ballet
(note that cast may vary with each performance)
Performances
- 1985: Premiere 26th of July 1985 at the Royal Opera House, Covent Garden in London. Performed by The Royal Ballet on July 26 and 27, and in February/March 1986 and November 1989.
- 1987: Premiere 31st of March 1987 at the Teatro alla Scala in Milan (Italy). Performed on March 31st and in April 1987.
- 1993: Premiere 17th of June 1993 at Het Muziektheater in Amsterdam. Performed by Het Nationale Ballet on June 19, 21, 22, 24 and July 2, 3, 9 and 10.
- 2000: Premiere 22nd of March 2000 at Het Muziektheater in Amsterdam. Performed by Het Nationale Ballet on March 22, 24, 26, 28, 29, 30, 31 and April 1, 2, 4, 5, 6 and 8.
Synopsis
In old age, Doctor Frankenstein is discovered alone. A musical box invokes his past. As a young man, the Doctor dances with Elizabeth, his betrothed, but he is torn between his love for her and his passion for forbidden knowledge. His Creature is revealed. Hungry for affection the creature tries to seduce Elizabeth and is rejected. He is further confused by a group of ‘punks’. Together they break into Frankenstein’s and Elizabeth’s engagement ball. The crowd watch, stunned, as the Creature and Elizabeth dance with increasing passion. In turn the Doctor struggles with his Creature but is left alone, as he began, still haunted...
Media
Unfortunately no recording of any ballet performance was ever released, however audience recordings of Vangelis’ music are known to exist.
Links
Gallery
Amsterdam performances (2000): Programme and booklet front, page 1-2-3-4.
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