FRANKENSTEIN
OCTOBER 30-31, 2026 | The Brown Theatre
Choreography by Anthony Krutzkamp
Rehearsal Directors: Mikelle Bruzina and Helen Daigle
Librettist: Justin Gray
Stage Manager: Megan Meyer
Music by John Adams
Costume design by Molly Duke
Scenic design by Eric Allgeier
Lighting design by Jesse AlFord
Video design by Kelly Tassin
Voice Actor: Jon Huffman
Illuminated by LG&E and KU
About
Mary Shelley’s gothic novel is brought to life in an electric new production for Halloween weekend. Exploring the humanity of Dr. Frankenstein’s shocking creation, this moving and emotional interpretation asks the question: in this story of madness, abandonment, and revenge, who is the real monster?
P.S. — Costumes are welcome and encouraged at performances to celebrate Halloween weekend!
This production includes strobe lights, haze, and fog effects and contains portrayals of death and violence that may be disturbing to some viewers.
SYNOPSIS
ACT I
Victor Frankenstein: There are moments when a single idea consumes a life. I believed that knowledge could conquer death. I searched where others feared to look. I gathered the broken pieces of humanity and dared to breathe life into silence. But creation without wisdom is not creation. It is catastrophe. This is not the story of a monster. It is the story of a man who forgot that every life created longs to be loved.
Prologue
Victor Frankenstein is preparing to leave home for university, where he will study natural philosophy, anatomy, biology, and chemistry. By his side are his father Alphonse, closest friend Henry Clerval, younger brother William, cousin and family friend Justine Moritz, and betrothed Elizabeth. Before Victor’s departure, Alphonse gives him a locket bearing his mother’s portrait. In an act of love, Victor bestows the token upon William before bidding the family farewell.
At university, Victor’s fascination with the mysteries of life quickly becomes an obsession. Inspired by modern science, he experiments with electricity, anatomy, and the boundaries between life and death. After repeated failures, he accomplishes the impossible: creating life from human remains. A Creature awakens on Victor’s laboratory table. For one brief moment, Victor is proud, but when the Creature reaches toward him for acceptance, Victor recoils in horror and abandons him.
The Creature enters the world knowing nothing of humanity. Traveling from town to town, he observes mankind and discovers the concept of community. His instincts urge him to find a place in the world, but everyone he approaches rejects him. Despairing, he happens upon a small cottage in the woods.
The De Lacey family live a humble life in relative isolation. Felix and Agatha care for their blind father, while Safie, Felix’s love interest, helps tend to the family. Finding peace in their presence, the Creature keeps his distance and learns through observation, discovering nature, language, human relationships, and the meaning of family.
Believing the blind Mr. De Lacey might accept him without seeing his frightening appearance, the Creature finally reveals himself. Mr. De Lacey responds with kindness, but when the rest of the family returns, they attack the Creature and drive him away.
Heartbroken, the Creature’s hope turns to rage. He encounters William Frankenstein in the woods and murders him. Discovering the locket Victor gave William, he devises a plan to torment Victor further. He finds Justine searching for William and manages to plant the locket on her. When the search party discovers it, Justine is arrested and tried for William’s murder. Despite the Frankenstein family’s efforts to defend her, she is wrongfully executed. Victor is tormented by the guilt of knowing he bears responsibility for the tragedy.
The Creature: I ought to have been thy Adam. The first of thy creation. The child who opened his eyes and found wonder. I should have looked upon my maker and seen love. I should have walked beside thee, learning the beauty of this world. Instead I awoke alone. The first face I saw looked upon me with horror. The first hand that fashioned me abandoned me. I reached toward mankind and mankind fled. I learned kindness from those who could never bear to look upon me. I learned compassion, only to discover cruelty. I ought to be thy Adam. But I am rather the fallen angel. Not because I was born evil—but because I was cast from the only heaven I ever longed to know. You created my body. But it was your rejection that created the monster.
Isolated in grief, Victor is unaware that his Creature is watching him. The Creature finally approaches and recounts the tale from his perspective, demanding that Victor create a companion with whom he can share his existence. Victor reluctantly agrees.
The Creature: Tell me, Victor. Who is truly the creator of my misery? You must create a female for me, with whom I can live in the interchange of those sympathies necessary for my being. I am alone and miserable: man will not associate with me; but one as deformed and horrible as myself would not deny herself to me. My companion must be of the same species, and have the same defects. This being you must create. If you consent, neither you nor any other human being shall ever see us again. We shall make our bed of dried leaves; the sun will shine on us as on man, and will ripen our food. We shall live harmless, and free from the misery I now feel. Shall each man… find a wife for his bosom, and each beast have his mate, and I be alone? I am malicious because I am miserable. Am I not shunned and hated by all mankind? I have love in me the likes of which you can scarcely imagine and rage the likes of which you would not believe. If I cannot satisfy the one, I will indulge the other.
ACT II
Months pass, and Victor and Henry embark on a Grand Tour of Europe. While in the Scottish Highlands, Victor urges Henry to continue ahead while he secretly withdraws to complete his task. Victor becomes lost in thought about an evil female Creature. The Creature waits nearby, hopeful that he will soon find peace with his bride-to-be.
Victor works quickly. Unlike his first creation, there is no wonder or discovery; he knows what must be done. As the female body gradually takes shape, the Creature watches in anticipation. Tired from anticipation, the Creature sleeps and dreams of his future wife. Just as Victor is about to bring the bride to life, the Creature appears. In terror, Victor destroys the unfinished body. Though she never lived, her destruction feels to the Creature like the murder of his only hope. He vows to take from Victor everything he holds dear.
On Victor and Elizabeth’s wedding night, Henry finds Victor physically and emotionally broken and attempts to restore the friend he once knew. When Victor briefly leaves him alone, the Creature appears and murders Henry in another act of revenge. Victor discovers his friend’s body but cannot reveal the truth about his creation.
Victor and Elizabeth are married by Alphonse, but Victor remains consumed by anxiety, expecting the Creature to strike at any moment. To everyone’s horror, the Creature appears and seizes Elizabeth, vanishing into the night. Alphonse collapses from a heart attack. In an instant, Victor has lost the last people he loves, along with his own humanity.
With nothing left but grief and rage, Victor pursues the Creature, determined to destroy him once and for all. Somewhere en route to the North Pole, explorer and ship captain Walton finds his ship trapped in the ice. A sailor spots movement in the distance: Victor Frankenstein, who collapses before them. Walton then glimpses the Creature across the frozen landscape.
Captain Walton: I sought the ends of the earth believing that greatness belonged to those who dared the impossible. Then I found a man who had already traveled that path. His name was Victor Frankenstein. His triumph became his torment. His genius became his prison. He pursued his creation across mountains, across oceans, across the frozen world…until nothing remained but vengeance.
As Victor recounts his tale, Walton recognizes the danger of following the same path of obsessive ambition. Victor urges him to pursue the Creature, but Walton tries to make him understand that the pursuit is over. Victor finally collapses and dies. Walton closes his eyes and withdraws with the sailors, leaving Victor alone.
The Creature silently boards the ship and discovers Victor’s body. He lifts his lifeless creator: Victor once gave the Creature life; now the Creature holds Victor in death.
Reflecting on all that has brought him here, the Creature recognizes that his longing for love and companionship became consumed by anger and revenge. Though Victor’s abandonment shaped his suffering, he acknowledges that he chose to kill innocent people. In the end, both creator and creation are destroyed by the consequences of their obsessions.
The Creature: You gave me life, but not a place in the world. I learned your language. I admired your kindness from afar. I reached for friendship and found only fear. Every face turned away. Every hand became a weapon. Tell me — what made me a monster? Was it my face…or your refusal to see my soul? I was born innocent. Your hatred taught me revenge.
Location
The Brown Theatre
Run Time
Approximately 2 hours, including one 20-minute intermission.
Performance Schedule
Friday, Oct. 30 at 7:30 p.m.
Saturday, Oct. 31 at 1:30 p.m.
Saturday, Oct. 31 at 7:30 p.m.
ARTISTIC TEAM
Anthony Krutzkamp is in his second season as Artistic Director of Louisville Ballet, bringing a vision shaped by his career as a dancer, choreographer, educator, and arts leader. A former Principal Dancer, Krutzkamp performed leading roles in classical and contemporary works by some of the world’s most celebrated choreographers. Prior to joining Louisville Ballet, he served as Artistic/Executive Director of Sacramento Ballet, where he expanded programming, toured internationally, achieved record-breaking ticket sales, and championed innovative artistic initiatives. His international experience includes teaching and mentoring dancers throughout the United States, Europe, and Asia. Krutzkamp holds a degree in Business Management from Northeastern University. At Louisville Ballet, he is committed to honoring the company’s rich legacy while advancing artistic excellence, cultivating emerging talent, and creating bold new works for the company.
Born in Lexington, Kentucky, Mikelle Bruzina is a graduate of the Royal Winnipeg Ballet. She retired as a Louisville Ballet principal artist in 2010, recognized for her excellence in classical, modern, and contemporary ballets. Mikelle discovered her love of teaching while living in Japan and developed vast teaching, staging, and coaching experience as a dancer, stager, and rehearsal assistant under the direction of former Artistic Directors Alun Jones, Bruce Simpson, and Robert Curran. She has choreographed many works for Louisville Ballet, including Gloria, Sansei, and Tinjy Wits, and has choreographed for The Louisville Ballet School, Memphis Ballet, Lexington Ballet, Milwaukee Ballet, and others. She was Ballet Mistress for 13 seasons, Artistic Director for two seasons, and led the founding of the Trainee Program, now known as the Studio Company. With her husband and their son, she has lovingly called Louisville home for over 30 years.
Originally from Baton Rouge, Louisiana, Helen Daigle began her training at Decatur School of Ballet in Decatur, Georgia. Returning to Louisiana, she continued her training at Dancer’s Workshop under Molly Buchmann and Sharon Mathews. She also studied at Joffrey Ballet School and the School of American Ballet. She began her professional career with Feld Ballets/New York and also danced with Ballet Hispanico and Miami City Ballet. Helen joined Louisville Ballet in 1998 and enjoyed 20 wonderfully fulfilling seasons performing featured roles and principal roles in a range of contemporary and classical works, including Lark Ascending, Who Cares?, Serenade, Lamberena, Company B, Cold Virtues, The Magic Flute, Don Quixote, Swan Lake, Giselle, The Sleeping Beauty, La Sylphide, and A Cinderella Story, among others. She is also Shoe Director for the Company, Children’s Cast Director for The Brown-Forman Nutcracker, and a member of The Louisville Ballet School’s faculty.
Eric is a Louisville native and freelance Scenic Designer. He has a BFA from Western Kentucky University in Theatre, an MFA from Boston University for Scenic Design, and an MAT from Spalding University for teaching. Eric was the Scenic Design faculty member at The Youth Performing Arts School for 13 years. He has worked with San Francisco Opera, Opera East Texas, Williamstown Theatre Festival, Kentucky Opera, Wolftrap Opera, University of Tennessee Opera, Florida State University Opera, Boston Playwright’s Theatre, Kentucky Shakespeare Festival, Derby Dinner Playhouse, and Pandora Productions. Eric has also worked as an Assistant Scenic Designer at Actor’s Theatre of Louisville and in New York City. At Louisville Ballet, he has previously created scenic designs for La Sylphide and Dracula.
A Louisville, Kentucky native, Kelly Tassin is a live events video engineer, video director, and creative technologist whose work exists at the intersection of technology, visual storytelling, and theatrical artistry. Kelly’s creative credits include working with acclaimed artists such as Janet Jackson and New Edition, along with major live productions including Bourbon & Beyond and Louder Than Life. Kelly has also contributed to large-scale visual experiences, including projection mapping on Louisville Metro Hall. From live video direction and on-camera creative to projection, LED environments, and digital media, Kelly brings a distinctive visual sensibility to every production. With equal appreciation for precision and imagination, Kelly transforms technology into a dynamic part of the performance, creating visual moments that engage audiences and elevate the experience. From the control room to the stage, Kelly helps bring the story to life.
A former circus performer and coach turned Lighting Designer, Jesse is from Southern California, but settled in Louisville after a brief stint in San Francisco and graduating from Washington State University. He is the Lighting Director and Resident Lighting Designer at Louisville Ballet and has enjoyed an award-winning freelance career spanning more than 15 years, working with organizations including Kentucky Shakespeare, Cincinnati Ballet, Kentucky Opera, Va Va Vixens, Circus Flora, Big Apple Circus, Westchester Circus Arts, Tennessee Williams Festival St. Louis, Stage One Family Theater, Louisville Orchestra, Pandora Productions, Time Slip Theater, Theatre [502], and many more across the country. He has designed more than 250 productions for over 35 organizations. Favorite designs for Louisville Ballet include Swan Lake, Dracula, 502, Rite of Spring, and La Sylphide. Working in circus, dance, theatre, and more, he specializes in the moments and productions that happen in between those disciplines.
Molly is a costume designer from Louisville and currently serves as Louisville Ballet’s Costume Director. This is their ninth season with the company. Molly has recently designed costumes for Ching Ching Wong’s 502, Roger Creel’s A Midsummer Night’s Dream, and created numerous original designs for annual choreographers’ showcases with Company Artists and Studio Company Artists. They have also brought costumes to life for full-length ballets in Louisville Ballet’s repertoire, blending archival designs and materials with new construction and creativity. Molly’s designs support the creative development of new works and the artistic integrity of existing repertoire while helping bring distinctive visual identities to each production. She is a graduate of Bellarmine University, where she earned Bachelor of Arts degrees in Theatre and Art. Molly values the creative challenge of transforming a choreographer’s vision into a fully realized design on stage.
Justin Michael Gray is the Music Manager + Company Pianist for Louisville Ballet, where he plays a central role in shaping the company’s musical voice. A former ballet dancer turned professional pianist, Justin brings over 20 years of experience as a dance accompanist and artistic collaborator. He holds bachelor’s degrees in both Ballet Performance and Piano Performance from Indiana University’s Jacobs School of Music — a unique combination that deepens his understanding of the relationship between movement and music. His previous work includes positions as class and rehearsal pianist with Fort Wayne Ballet, Fort Wayne Civic Theatre, New American Youth Ballet, Indianapolis Ballet, Indiana University Ballet Theater and Pre-College Program, and Grand Rapids Ballet. At Louisville Ballet, Justin provides daily accompaniment for company and school classes, serves as rehearsal pianist for mainstage productions, manages all scheduling and licensing for musical elements, and collaborates with artistic leadership to develop the company’s creative direction.
One of the most influential living American composers, John Adams was born and raised in New England and is world-renowned for his work as a composer, conductor, and creative. His operatic and symphonic works stand out among contemporary classical compositions for their depth of expression and sound. Adams began composing at age 10 and later received degrees from Harvard University. He is the recipient of numerous Grammy awards and won the Erasmus Prize in 2019. His work is heavily influenced by the West Coast, where he has lived since the 1970s. He is also the author of Hallelujah Junction and has written for The New Yorker and The London Times. Characterized by critics as post-minimalist, his work brings colorful and expansive melodies to patterns rooted in minimalism.
Jon Huffman is a huge fan of Louisville Ballet, proud to be a part of this production, and absolutely no dancer. As an actor/director, he has performed in and helmed hundreds of theatre productions all over the country, with companies including — locally — Kentucky Shakespeare, Actors Theatre of Louisville, and Derby Dinner Playhouse. A reformed Los Angeles actor, Jon has acted in dozens of feature films (including one Best Picture), and he’s played many roles on network television (including one soap-opera bad guy who still gets occasionally recognized in the wild, after 20 years). He’s been the narrator of over 250 audiobooks. Also a playwright, Jon’s work has been staged across America, and he’s the screenwriter of several films, one of which is a cult classic, particularly around Halloween and St. Patrick’s Day.
GALLERY
Photos by Kateryna Sellers
FAQ
What access services do you offer for the performances?
American Sign Language (ASL) interpretation will be available for the pre-show talks and curtain speeches for all performances. Audio description is available upon request. Wheelchair seating is available at The Kentucky Center and The Brown Theatre. Contact info@louisvilleballet.org for more information on accessibility.
How do I find my tickets?
If you chose Will Call as your ticket delivery method, you will be able to pick up your tickets at the theater an hour before the performance begins. If you chose digital tickets, you will be able to access them a few hours before the performance begins. Click here to learn more about digital tickets.
Where should I park?
Due to enhanced security procedures, we highly encourage allowing yourself extra time to get into the theatre and be comfortably seated. For performances at The Brown Theatre, the Brown garage is next to the hotel/theatre. There is also metered street parking. Click here to learn more about The Brown Theatre
I’ve never been to the ballet. What should I expect?
We’re so glad you’ve chosen to attend a live art experience with us! For more details about what to wear, theater etiquette, and what to expect, visit our frequently asked questions.
ADDITIONAL CREDITS
Kathleen Kronauer
Director of Production
Megan Meyer
Stage Manager + Production Assistant
Bex Richter*
Assistant Stage Manager
Isabella Saba*
Assistant Lighting Designer
Maegan Donahoe
Costume Manager
Megan Gesse
Costume Coordinator
Dan Fedie*
Teresa Greer*
Nancy Hansen*
Kirsten Smerud*
Stitchers
Erin Hogle*
Makeup Consultant
Wes Shofner*
Properties Master
Brittney Tassin
Technical Director
Javan Roy-Bachman
Master Carpenter + Facilities Manager
Michael Braaksma*
Simmons Falk*
Rob Gagnon*
Zander Heitz*
Greg McGuire*
Nadia Melaisis*
Lucy Roy-Bachman*
Jason Rubino*
Scenic Artists + Carpenters
*In addition to Louisville Ballet staff, these artists brought this production to the stage.
The Brown Theatre stagehands represented by IATSE Local #17.
American Sign Language interpretation services provided by the University of Louisville ASL Interpreting Studies Program.