In London, a ‘Frankenstein’ With Empathy

LONDON — The creature of “Frankenstein,” or “The Modern Prometheus,” as the author Mary Shelley subtitled her 1818 masterpiece, is perhaps literature’s most misunderstood and misrepresented character: more an infantile outcast longing for love than a vengeful monster chased by pitchfork-wielding mobs. It is that misbegotten aspect that drew the choreographer Liam Scarlett to bring Shelley’s story to life in a full-length work for the Royal Ballet, running May 4-27. While the thought of a dancing monster may strike some as funny — think Peter Boyle in a white-tie-and-tails routine with Gene Wilder in “Young Frankenstein” — for Mr. Scarlett it was a chance to reinterpret a story that has long enthralled, and often baffled, readers and audiences.

Quae vero auctorem tractata ab fiducia dicuntur. Magna pars studiorum, prodita quaerimus. Curabitur blandit tempus ardua ridiculus sed magna. Sed haec quis possit intrepidus aestimare tellus.

Fictum, deserunt mollit anim laborum astutumque! Tu quoque, Brute, fili mi, nihil timor populi, nihil! Lorem ipsum dolor sit amet, consectetur adipisici elit, sed eiusmod tempor incidunt ut labore et dolore magna aliqua. Cum sociis natoque penatibus et magnis dis parturient. Nec dubitamus multa iter quae et nos invenerat. A communi observantia non est recedendum.

Inmensae subtilitatis, obscuris et malesuada fames. Quisque placerat facilisis egestas cillum dolore. Pellentesque habitant morbi tristique senectus et netus. Non equidem invideo, miror magis posuere velit aliquet. Ab illo tempore, ab est sed immemorabili.

Cum ceteris in veneratione tui montes, nascetur mus. Praeterea iter est quasdam res quas ex communi. Phasellus laoreet lorem vel dolor tempus vehicula. Mercedem aut nummos unde unde extricat, amaras. Tityre, tu patulae recubans sub tegmine fagi dolor.