19世纪初，玛丽·雪莱写下了第一部科幻小说《弗兰肯斯坦》：维克多·弗兰肯斯坦即将离开家人和他的伊丽莎白去上大学，就在离开之前，他的母亲却在分娩时去世。自此以后，维克多沉迷于将母亲复活的狂想与实验中，最终他制造出了怪物，却迷失了自己。
作为英国皇家芭蕾舞团的驻团艺术家，利亚姆·斯卡利特创作了大量的作品。2016年，三十岁的他创作了自己在英皇的第一部全长芭蕾舞剧《弗兰肯斯坦》，罗威尔·利伯曼创作了充满毁灭性的音乐，约翰·麦克法兰设计出令人毛骨悚然的舞台。极具表现力和戏剧性的舞蹈，获得了观众和评论的一致肯定，《泰晤士报》、《每日快报》、《舞台报》均给出四星推荐。
新现场引进的高清影像是2016年录制的，由首席舞者费代里科·博内利饰演敏感疯魔的维克多，史蒂文·麦克雷饰演强大可怕的怪物，纯洁善良的伊丽莎白则由劳拉·莫雷拉饰演。这部极具戏剧冲突的舞剧，对于演员的表演提出了极高的要求，这一组卡司的演出可谓是无懈可击的。其中，史蒂文·麦克雷的怪物已经成为他的标志性角色之一。

Victor Frankenstein is sent away to university, away from his family and his closest friend Elizabeth. Just before he leaves, his mother dies in childbirth. Distraught, Victor throws himself into his studies, learning obsessively all that he can from his Professor. Fuelled by his experiments and in a desperate hope to find a way to bring his mother back, Victor works furiously, and eventually succeeds in giving life to non-living matter – but, horrified at what he has done, Victor abandons his Creation.

Six years later, Victor returns home. The Creature follows him and, watching Victor with his family from afar, longs to be accepted and loved as one of them. On the day of Victor’s wedding to Elizabeth, the Creature draws closer, enraptured by Elizabeth’s beauty. Victor discovers the Creature, who, in his panic, kills Elizabeth. In his grief, Victor takes his own life, leaving the Creature once again alone and abandoned, cradling his creator.

Victor Frankenstein is sent away to university, away from his family and his closest friend Elizabeth. Just before he leaves, his mother dies in childbirth. Distraught, Victor throws himself into his studies, learning obsessively all that he can from his Professor. Fuelled by his experiments and in a desperate hope to find a way to bring his mother back, Victor works furiously, and eventually succeeds in giving life to non-living matter – but, horrified at what he has done, Victor abandons his Creation.

Six years later, Victor returns home. The Creature follows him and, watching Victor with his family from afar, longs to be accepted and loved as one of them. On the day of Victor’s wedding to Elizabeth, the Creature draws closer, enraptured by Elizabeth’s beauty. Victor discovers the Creature, who, in his panic, kills Elizabeth. In his grief, Victor takes his own life, leaving the Creature once again alone and abandoned, cradling his creator.

Victor Frankenstein is sent away to university, away from his family and his closest friend Elizabeth. Just before he leaves, his mother dies in childbirth. Distraught, Victor throws himself into his studies, learning obsessively all that he can from his Professor. Fuelled by his experiments and in a desperate hope to find a way to bring his mother back, Victor works furiously, and eventually succeeds in giving life to non-living matter – but, horrified at what he has done, Victor abandons his Creation.

Six years later, Victor returns home. The Creature follows him and, watching Victor with his family from afar, longs to be accepted and loved as one of them. On the day of Victor’s wedding to Elizabeth, the Creature draws closer, enraptured by Elizabeth’s beauty. Victor discovers the Creature, who, in his panic, kills Elizabeth. In his grief, Victor takes his own life, leaving the Creature once again alone and abandoned, cradling his creator.

Prologue: The cemetery at Heiligenkreuz before dawn
Act I
Scene 1: The ballroom at the Hofburg Palace, Vienna
A ball to celebrate the marriage of Crown Prince Rudolf of Austria-Hungary and Princess Stephanie of Belgium is in full swing. Rudolf flirts shamelessly with Stephanie's sister, Princess Louise, offending both his new bride and his parents, Emperor Franz Josef and Empress Elisabeth. Rudolf meets Countess Marie Larisch, a former mistress, and Baroness Vetsera. The Baroness introduces her 17-year-old daughter Mary Vetsera. Four Hungarian officers, friends of Rudolf, enter and forcefully argue the separatist cause of their country. Countess Larisch tries to rekindle her relationship with Rudolf. The pair are discovered by the Emperor, who demands that Rudolf return to his wife.
Scene 2: The Empress’s apartments at the Hofburg
Having retired from the ball, Empress Elisabeth is being attended by her ladies-in-waiting. Rudolf visits his mother, on his way to his new bride. He expresses his deep unhappiness at being pressured into marriage. Desperate for maternal affection he tries to embrace the Empress, only to be coldly rebuffed.
Scene 3: Rudolf’s apartments at the Hofburg
Princess Stephanie is getting ready for her wedding night. Rudolf enters and threatens Stephanie with a revolver before forcing her.
Act II
Scene 1: A notorious tavern
Rudolf and Stephanie enter the tavern in disguise. They are accompanied by Rudolf's driver Bratfisch, who attempts to lighten Stephanie's spirits. Prostitutes compete for the men's attention and Stephanie flees the tavern in disgust. Rudolf turns his attention to his Hungarian friends and his regular mistress, the courtesan Mizzi Kaspar. The police burst in and Rudolf, Mitzi and the Hungarian officers hide. The police arrest several people before leaving. In a despairing mood, Rudolf proposes a suicide pact to Mitzi. The Prime Minister Count Taaffe enters the tavern, looking for Rudolf. Rudolf hides again but Mitzi tells the Count where he is hidden. The Count and Mitzi leave together.
Scene 2: Outside the tavern
Countess Larisch, ostensibly chaperoning Mary, presents the young girl to Rudolf as he leaves the tavern.
Scene 3: The Vetsera house
Countess Larisch calls on her friend Baroness Vetsera. She finds Mary absorbed by a portrait of Rudolf. Countess Larisch tells Mary's fortune using a pack of cards and informs her that her romantic dreams will come true. Mary gives the Countess a letter to deliver to Rudolf on her behalf.
Scene 4: The Hofburg
During the Emperor's birthday celebrations Count Taaffe confronts Rudolph over an incriminating political pamphlet on the Hungarian cause. Colonel 'Bay' Middleton hands the Count a joke cigar, to Rudolf's intense amusement. The Empress presents the Emperor with a portrait of his 'friend' Katherina Schratt. A firework display distracts everyone except the Empress and 'Bay.' Rudolf notices their amorous exchange and becomes bitterly resentful. Countess Larisch produces Mary's letter and teases Rudolf with it.
Scene 5: Rudolf’s apartments at the Hofburg
Mary and Rudolf meet in secret for the first time.
Act III
Scene 1: A royal shoot in the countryside
During a hunting expedition, Rudolf unaccountably shoots wildly. He kills a member of the court, narrowly missing his father.
Scene 2: Rudolf’s apartments at the Hofburg
The Empress discovers Countess Larisch and Rudolf alone together and angrily dismisses the Countess, unaware Mary is waiting outside. Mary enters after the Empress has left. Rudolf asks her to commit suicide with him.
Scene 3: The hunting lodge at Mayerling
Rudolf shares a drink with Count Hoyos and Prince Philipp of Coburg, attended by his valet Loschek. He asks them to leave, saying he is unwell. Bratfisch enters with Mary. Rudolf instructs Bratfisch to entertain him and Mary. Bratfisch, soon realizing he has lost their attention, leaves. In a mounting frenzy Rudolf makes love to Mary. He injects himself with morphine to calm his nerves and embraces Mary for the last time. He shoots her. Loschek, Hoyos and Philipp rush in, having heard the shot. Rudolf reassures them and instructs them to leave. Alone, he shoots himself. His friends rush in again, and collapse in despair when they find Rudolf's dead body.
Epilogue: The cemetery at Heiligenkreuz before dawn

A modern Mexican classic of magic realism provides the basis for The Royal Ballet’s new full-length work, reuniting Artistic Associate Christopher Wheeldon with the creative team who transformed Alice’s Adventures in Wonderland and The Winter’s Tale into dance, composer Joby Talbot and designer Bob Crowley. Journey into Laura Esquivel’s captivating family saga where the central character’s emotions spill out through cooking to influence everyone around her in startling and dramatic ways. In this co-production with American Ballet Theatre, Mexican conductor Alondra de la Parra acts as musical consultant for Talbot’s newly commissioned score, with Wheeldon working closely with Esquivel to reshape her richly layered story as an entertaining and engrossing new ballet.