Putting aside the somewhat problematic qualities of Liam Scarlett's ballet adaptation of Frankenstein qua ballet (why is Henry Clerval submitted to something that looks suspiciously like sexual assault in Act I? why does the Creature have nothing to do until Act II? why is Clerval dancing a knock-off of Mercutio's choreography from MacMillan's Romeo and Juliet in Act III?), it's also an interesting example of how making a tiny alteration to the source text can radically alter the significance of what follows. Like many adaptations of Frankenstein, this one transforms the animation scene into spectacle, which it explicitly is not in Shelley's original: Victor electrifies the Creature into being to the accompaniment of the "glimmer of the half-extinguished light" (one of the novel's many ironic plays on the concept of "enlightenment"). That's not the key tiny change, although it does suggest the extent to which this Frankenstein has been mediated through earlier cinematic versions. It's what follows that's important. In the original text, Victor complains, has nightmares, and then awakens to this vision:
I started from my sleep with horror; a cold dew covered my forehead, my teeth chattered, and every limb became convulsed; when, by the dim and yellow light of the moon, as it forced its way through the window shutters, I beheld the wretch—the miserable monster whom I had created. He held up the curtain of the bed; and his eyes, if eyes they may be called, were fixed on me. His jaws opened, and he muttered some inarticulate sounds, while a grin wrinkled his cheeks. He might have spoken, but I did not hear; one hand was stretched out, seemingly to detain me, but I escaped and rushed downstairs.
This--and not the literally and figuratively gloomy moment at which Victor brings the Creature to life--is the crucial turning point in the text. Producing the Creature puts Frankenstein into dangerous spiritual and moral territory to begin with; running away from his creation is what brings him to the point of no return and sets off the deadly chain of events that follows. To reinforce that point, Shelley repeats the basic elements of this scene (moonlight, creature's gaze, grin, prone figure) twice:
I trembled and my heart failed within me, when, on looking up, I saw by the light of the moon the daemon at the casement. A ghastly grin wrinkled his lips as he gazed on me, where I sat fulfilling the task which he had allotted to me. [prompts the destruction of the bride]
The windows of the room had before been darkened, and I felt a kind of panic on seeing the pale yellow light of the moon illuminate the chamber. The shutters had been thrown back, and with a sensation of horror not to be described, I saw at the open window a figure the most hideous and abhorred. A grin was on the face of the monster; he seemed to jeer, as with his fiendish finger he pointed towards the corpse of my wife. [after the creature murders Elizabeth]
The second scene marks a turning point in the balance of power between Victor and the Creature, insofar as it plays out as a violation of contract; notice that the Creature's hand doesn't appear in this scene, as it does in the first and third. The third scene, though, darkly parodies the first. Victor (by process of Enlightenment psychological association) now automatically associates moonlight with terror, while the Creature's outstretched hand gives way to the aggressively pointing finger; the finger signals the Creature's embrace of violence, instead of its initial longing for connection.
In the ballet, by contrast, Victor and the Creature struggle briefly after its birth, and then...the Creature grabs Victor's coat and books it out the door, while Victor looks aghast.
The problem here is that in a matter of seconds, the ballet undermines most of the novel's critique of Victor's behavior, and doesn't substitute much of anything in its place. Victor doesn't abandon the Creature; it abandons him, and Victor's psychological collapse at the end of Act I suggests that he's not emotionally capable of running after his creation. Victor is thus still responsible for the Creature, but the ballet considerably reduces that responsibility, in a way that doesn't really justify the quasi-comical pileup of corpses with which the staging concludes. It doesn't help that there's no Bride, which reduces the Creature's justifications for angst even further.