Page 70 - Media Coverage Book - 75th Aldeburgh Festival 2024

Jonathan Goddard, Eleanor Duval and Cordelia Braithwaite in Frankenstein – Mark
Bruce Company (Photo: Mark Bruce Company)

The Mark Bruce Company loves a bit of gothic decadence, so what could be more up
their street than Mary Shelley’s Frankenstein? This is destined to be a riot of slit-and-
stitched costumes, filmic compositions, and a semi-immersive experience for those
watching, and Bruce’s aim is to humanise the story, making it less horror-genre and

more a psychological drama. The Monster is danced by the multi-talented Jonathan
Goddard, a magnetising presence on stage. Other dancers include Cordelia
Braithwaite, who originated the role of Juliet in Matthew Bourne’s version of
Shakespeare’s romantic tragedy. It opens in the company’s hometown of Frome,
Somerset before moving to Jerwood/Dance East in Ipswich and then The Place in
London. RW

Touring, 15 – 28 March (fromememorialtheatre.org.uk, 01373
462795; danceeast.co.uk; theplace.org.uk, 020 7121 1100)

Dance

Crystal Pite and Jonathon Young/Kidd Pivot: Assembly Hall

Sadler’s Wells, London

Powerhouse duo Crystal Pite and Jonathon Young are back with the UK premiere of
their latest work for dance-theatre hybrid company Kidd Pivot. Assembly Hall’s plot is
based around some medieval re-enactors congregating at a village hall, potentially for
the last time. What happens next is anyone’s guess. Probably, based on Pite and
Young’s previous, discombobulating work, something really odd. But my guess is:
whatever it is, it will be great – and, probably, unforgettable. Catch the show in
London in the spring before it heads to the Edinburgh International Festival later in

the year. RW

20 – 23 March (sadlerswells.com, 020 7863 8000)

Dance

Royal Ballet: Danses Concertantes/Different Drummer/Requiem

Royal Opera House, London

The Royal Ballet’s spring/summer 2024 programme is, as ever, a delight with
highlights including the return of Christopher Wheeldon’s gorgeous The Winter’s Tale.
However, this mixed bill of three one-act ballets by the mighty Kenneth MacMillan
looks particularly enticing. It includes his weird and wonderful interpretation
of Woyzeck, a heartbreaking play about a soldier’s mental unravelling. MacMillan’s