This March, San Francisco Ballet’s production of Liam Scarlett’s “Frankenstein,” a thrilling adaptation of the 1818 classic gothic novel by Mary Shelley, returned to the War Memorial Opera House stage in San Francisco for the first time since 2018.
The ballet is captivating and timeless, distinguished by its thrilling special effects, majestic set design, haunting musical score and masterful choreography. The story of Frankenstein and the Creature centers on themes of identity, desire and loneliness, offering relevant and adept insight into human nature and hubris.
To understand what a performance of such caliber entails, soloist Victor Prigent (the Creature) and principal dancer Max Cauthorn (Victor Frankenstein) dialed in with The Daily Californian to discuss “Frankenstein.”
Originally from Poissy, France, Prigent started dancing at 6 years old. He recalled wanting to play soccer but enrolling in ballet for his parents’ convenience, since his older siblings were already dancing. “I remember crying, it was quite rough,” he said about his first week of lessons.
Prigent went on to receive training at Paris Opera Ballet School, Conservatoire National Supérieur de Musique et de Danse de Paris, Joffrey Academy Ballet Trainee Program in Chicago and the San Francisco Ballet School. He joined the San Francisco Ballet Company as a soloist in 2024.
Cauthorn grew up in San Francisco, taking movement classes at ODC, a dance company in the city, before joining the San Francisco Ballet School at age 11. “I went all the way up the school, joined the company in 2013, and went all the way up through the company,” he explained. Cauthorn was promoted to soloist in 2017 and then principal dancer in 2020. He also trained at Zurich Ballet, the largest professional ballet company in Switzerland.
“(My) very first role with a big company would have been ‘The Nutcracker’ with the Paris Opera,” recalled Prigent. “I probably did the party scene and then something in the second act,” he said, pausing to remember the specifics. “My first performing role with the company was in Suite en Blanc,” said Cauthorn, about Serge Lifar’s abstract neoclassical ballet, which he performed on tour with SF Ballet in New York City.
When asked what kinds of characters they find most compelling, Prigent and Cauthorn expressed appreciation for roles rich in physicality, creativity and storytelling.
“I really enjoy the acting roles,” gushed Prigent, who discovered this through receiving opportunities to play more complex characters.“I realized that what I enjoyed most were the acting roles — portraying a character and getting to know the ins and outs and what I could do with storytelling.”
“Recently, I find it interesting to play villains,” he explained. “It’s not as linear as doing the prince.” Prigent referenced the Creature in “Frankenstein” and his experience playing Hilarion in Akram Khan’s “Giselle.” “There’s always nuances and layers to the character. It’s not just playing a bad person. It’s always something interesting pushing the character to be that way.”
“I like anything with a lot of partnering,” reflected Cauthorn. “I think partnering is sort of where I found a deeper connection to the art — to be able to share a moment with a fellow dancer and connect is a really special moment, and an opportunity that I’m really grateful for.”
Both of their characters in “Frankenstein” embody these qualities. Cauthorn and Prigent explained that the challenge is bringing the characters themselves to life, as each depiction is incredibly interpretive and thus, distinct.
“It’s one of my favorite roles as of late,” said Prigent about the Creature. “I had no idea how physical the role would be until I started learning it.”
Prigent drew inspiration for his physicality from Benedict Cumberbatch’s rendition of the Creature in the National Theatre’s production of “Frankenstein,” praising Cumberbatch’s depiction of childlike wonder. “It gave me a new vision of what the Creature could be,” said Prigent. “To find the nuance between being powerful and being childlike, being fascinated by things, but being angry, it’s a constant — you have to stay within the narrative or the scene to know when to switch between the two.”
The elaborate makeup and prosthetics are another central aspect of playing the Creature. It takes roughly two hours for Prigent to get into character before each performance. “You do look scary,” he laughed. “You look like a monster.” Still, Prigent described the makeup as only an additional “tool” for getting into the character. “It was more the internal narrative and dialogue that helped me portray it,” he said, before adding, “I hope, to a good extent.”
“Playing Victor Frankenstein is a really personal experience,” said Cauthorn. It is his third year performing “Frankenstein.”
“To me, it’s a story about regret, and finality. I think it has a lot of rage in it, but also a lot of longing. And I think it speaks to a deeper sense of doing things well-intentioned, but perhaps not realizing the gravity of your decisions and what might come of them.”
Both expressed appreciation for “Frankenstein” and for each other.
“I was a trainee at SFB about nine years ago,” said Prigent. “Max was already in the company and he was someone that I always looked up to.”
“It’s been really nice to have him back and to connect as professionals and adults that have been dancing for a long time,” said Cauthorn about Prigent. “He’s a super lovely guy, and I've been really fortunate to get to do it with him.”
“Frankenstein” will return for encore performances between April 26 and May 4.