BMC Posted October 21, 2018 Share Posted October 21, 2018 Well, two very contrasting evenings at the ballet on Friday and Saturday. Much as I'm a fan of a lot of the dancers who get most of the attention on this site, it's one of the pleasures of ballet going when one of the less starry gets their chance and really seizes it. So, I was genuinely hoping that Hirano was going to do that - as he did in Winter's Tale where the emotion was displayed forcefully in the unforgiving close-ups of the cinema. But, like many above, I felt Rudolf - so far at least - just wasn't for him. But what was most odd, I found, was that his Act 3 really was excellent - but rather than that slow warming-up you get sometimes, as dancers overcome their nerves and settle in, this felt as though a different dancer had appeared! Having said that, I do agree with Varnatus that his panic attack in Act 2 was very convincing. It was such a shame because you had all these amazing ballerinas, Osipova, Lamb, Hayward (all brilliant in their roles) who looked as though they were dancing in a vacuum. My favourite scene was between Mary and Larisch with the cards because both the women played off each other so well. I hope Hirano is like Cope - the first time I saw him it felt exactly like this performance - somehow without a centre - but when Mayerling was next revived he was sensational. As for Matthew, nothing really to add - it was just for me a genuine triumph. As well as the acting feeling so real, he danced so beautifully (and you don't always get that combination!). I'm sure this will only be one amazing highlight in what must surely be an incredible career. He really does have it all. The whole cast gelled so well around him and I really liked Natalie Harrison as the Empress. Do hope Elizabeth Harrod has no after effects - I hear myself blithely saying in the interval that dropping her didn't matter in the context if what was happening in the scene, while managing to forget completely that there was a person on the receiving end who might have a few sore bruises this morning! Congratulations to everyone for a wonderful night. 7 Link to comment Share on other sites More sharing options...
Richard LH Posted October 21, 2018 Share Posted October 21, 2018 35 minutes ago, bridiem said: OK, so now I am even more upset that I had to miss last night through illness. Very sorry to hear that. 2 Link to comment Share on other sites More sharing options...
Jillykins Posted October 21, 2018 Share Posted October 21, 2018 Fascinating comments and reviews! Thank you all for the wide range of opinions and historical detail. How lucky we are to have so many dancers able to fulfil the many roles in Mayerling. I still feel lucky to have seen Hirano but wish I had seen more interpretations! 2 Link to comment Share on other sites More sharing options...
penelopesimpson Posted October 21, 2018 Author Share Posted October 21, 2018 The word natural so brilliantly describes Matthew, Capybara. He has a freshness to him that makes his dancing seem as if he has never done it before. A wonderful talent. 5 Link to comment Share on other sites More sharing options...
Nogoat Posted October 21, 2018 Share Posted October 21, 2018 20 hours ago, Mummykool said: The Hirano we saw last night was nothing like the Hirano we saw in opening night and who garnered such tepid reviews. It has been interesting to watch how his characterisation has grown and how the whole cast seem to have gelled together. I know the focus is shifting to last night's performance, but I was too busy yesterday to put this together. So, sorry to muddy the water... There were two narratives playing out on stage on Friday night; the self-contained story of the descent of Rudolf, as portrayed by Hirano over the three acts of Mayerling, and the on-going story of the evolution of Hirano's interpretation of that role. Both made for fascinating and rewarding viewing. I was captivated by Friday's performance; the whole ensemble of characters seemed to mesh together like the well-oiled cogs of some fantastical, story-telling contraption. Nothing seemed forced or out of place - the unfolding of the story, and the unravelling of the various characters just 'flowed'. The whole cast seemed at ease with their roles, confident in their own delivery and trusting in the contribution of the others to that delivery. The whole became greater than the sum of its parts, and given that some of those parts were superb, the overall effect was incredible. All the pieces of the jigsaw were there, they all fitted together seamlessly, and the vista revealed was awesome. The power on show from Hirano during the Act 1 PDD with Hayward was as impressive as before, but on Friday it was used to create less of a brutal monologue, less of a straightforward thuggish assault. The physical energy seemed to pass from Hirano to Hayward and back again; to and fro, like waves breaking on a beach, with the beach resisting the waves' retreat. I can't remember the last time I saw this exchange of energy being so 'fluid' in this PDD, and much of that must be down to Hayward's absolute trust in Hirano as a partner. OK, the 'cocked-leg lift' (I'm sure there's a technical term for it!) was telegraphed a bit, but the way he brought her back down to the stage seemed to push at the limits of what is physically possible and made me catch my breath (just how close did her head get to the stage?). The overall effect was heartbreaking; the depiction of Stephanie's predicament, and her attempts to deal with it, certainly passed what might be called the Well Test - my eyes were certainly welling-up by the end of their PDD. This is in contrast to their first outing, where everything seem much more mechanical; then, the focus seemed to be more on the mechanics of delivering the performance rather than on the story told by that performance. I guess the experience of repeated performance brought with it a cascade of improvements: an increasing sense of trust and confidence between partners; greater opportunity to develop the 'acting' side of the choreography; more expressive on-stage 'conversations' related through movement and expression; greater audience empathy and satisfaction. To feel empathy with the on-stage characters, those characters need to fire up our 'mirror neurones' - we need to be able to put ourselves in their position in order to feel their emotions; and the richer and more coherent the information we are provided with, the greater that will be. Well, all I can say is my brain (which perhaps is not as discriminating as others!) was fizzing and popping like the firework display; I felt totally immersed in and convinced by the unfolding story. That culminated, of course, in the final PDD. I felt the desperate anguish on display, that this was the only course of action open to them, but also the relief, almost joy, that they were embarking on it together - with a commitment to each other that had started in the final embrace of the Act 2 PDD and sealed in the PDD in his bedroom after Larisch had left. I was totally convinced by the narrative arc and welled up yet again! Sarah Lamb, once again, gave her own unique and incredibly effective reading of Larisch; she was embedded within the story, but at the same time seemed also to be relaying to us, the audience, her role in its development and realisation. This she did by breaking the fourth wall (her staring at us during the wedding ball procession, and the way she interacted with us during the card reading scene). Given that the real Larisch published her memoirs, I wonder if Sarah is deliberately adopting some sort of 'autobiographical stance' where she is both narrator and subject? Was she literally 'playing it by the book'? The depth of characterisation was evident throughout. One that caught my eye was when two of the whores were brought over to Stephanie by Rudolf; one of them elbowed Stephanie in the ribs as if to say 'this is our patch and we play by different rules here!' A couple of other observations might be worth mentioning. In the final PDD, Osipova, unlike the other Marys I have seen, reaches and holds Rudolf just as he dismisses Bratfisch - almost as if she is affirming and supporting his action. And, once more, she crossed the stage to prostrate herself in front of Rudolf on her knees - 'ugly', though I swear she did it in time to the music! Finally, you cannot fault Hirano for effort; two bloodied knees and one bloodied elbow. Although I left the ROH buzzing, and to some extent still am, part of me (the greedy part!) wishes this cast were down for four performances rather than three... Or maybe five... Etc... 10 Link to comment Share on other sites More sharing options...
Fiz Posted October 21, 2018 Share Posted October 21, 2018 Gosh, I do envy those of you who get to see multiple casts! Link to comment Share on other sites More sharing options...
Beryl H Posted October 21, 2018 Share Posted October 21, 2018 I saw Friday and Saturday's performances and the difference in the casts was indeed fascinating, both Rudolf's very new to the role and Matthew Ball also not having had much time to learn it, his Rudolf was more sympathetic, less of a monster, thought he brought out the drug addict effects very well, whilst Ryoichi Hirano was more of a psychopath, with very frightening and violent depths. I was amazed they were both so good so soon, imagine them in 5 years time! Last night was scary to watch, as others have said, the pdd with Elizabeth Harrod had a few slips, the final Mary/Rudolf pdd also, but this made the reckless, desperate situations very real, both girls really let rip, like in the 1978 documentary when Kenneth Macmillan says to Lynn Seymour something like "let go, risk breaking your head" , he was such an innovator! 7 Link to comment Share on other sites More sharing options...
Bruce Wall Posted October 21, 2018 Share Posted October 21, 2018 35 minutes ago, Beryl H said: like in the 1978 documentary when Kenneth Macmillan says to Lynn Seymour something like "let go, risk breaking your head" , he was such an innovator! Reading your quote, Beryl, made me think of Balanchine's quip: 'Our boys don't fight'. A different kind of genius certainly. Link to comment Share on other sites More sharing options...
bridiem Posted October 21, 2018 Share Posted October 21, 2018 48 minutes ago, Beryl H said: Last night was scary to watch, as others have said, the pdd with Elizabeth Harrod had a few slips, the final Mary/Rudolf pdd also, but this made the reckless, desperate situations very real, both girls really let rip, like in the 1978 documentary when Kenneth Macmillan says to Lynn Seymour something like "let go, risk breaking your head" , he was such an innovator! I can think of some other words for someone urging a dancer to do that!! 6 Link to comment Share on other sites More sharing options...
Mary Posted October 21, 2018 Share Posted October 21, 2018 1 minute ago, bridiem said: I can think of some other words for someone urging a dancer to do that!! I do agree. I know it's all meant to be 'dangerous' etc. But I would really rather not watch dancers being thrown to the ground. 2 Link to comment Share on other sites More sharing options...
bridiem Posted October 21, 2018 Share Posted October 21, 2018 42 minutes ago, Mary said: I do agree. I know it's all meant to be 'dangerous' etc. But I would really rather not watch dancers being thrown to the ground. Well I hope that the dancers' talents are so huge and their judgement so good that they're not REALLY risking breaking their heads... though it does sometimes look rather as if they are. 1 Link to comment Share on other sites More sharing options...
BMC Posted October 21, 2018 Share Posted October 21, 2018 That was one of the many reasons Irek was so wonderful! You could watch all the flinging and throwing in the knowledge that the ballerinas were totally safe. A bit of stage danger without real danger so to speak! 5 Link to comment Share on other sites More sharing options...
Esmeralda Posted October 21, 2018 Share Posted October 21, 2018 20 hours ago, MissMonk said: I didn't quite get the Hungarian officers. I saw the cinema relay and i found them very disrespectful. Isn't that their prince? Should they really be literally pushing and pulling him around? They seemed very hostile for even being friends. (this is a comment on the characters not the dancing which was wonderful) Well, they were maybe also Rudolphs friends but first of all they had a greater goal in mind (which they had in common with Rudolph). And since Rudolph is very occupied with other things in this ballett (all the women, drugs, his death wishes etc.) they probably thought he needed a few strong reminders of this. He was an important ally to them and they needed to keep him on track. I guess sometimes their patience wasn´t really the best! 1 Link to comment Share on other sites More sharing options...
Richard LH Posted October 21, 2018 Share Posted October 21, 2018 (edited) 5 hours ago, Nogoat said: I guess the experience of repeated performance brought with it a cascade of improvements This poses is a bit of a dilemma for future ballets, when a new cast/pairing, or indeed a new production run, is coming up - whether to go for the excitement and novelity of the first night, or wait for things to bed in and go later on. Edited October 21, 2018 by Richard LH 2 Link to comment Share on other sites More sharing options...
miriskusnik Posted October 21, 2018 Share Posted October 21, 2018 47 minutes ago, Richard LH said: This poses is a bit of a dilemma for future ballets, when a new cast/pairing, or indeed a new production run, is coming up - whether to go for the excitement and novelity of the first night, or wait for things to bed in and go later on. I find this to be a constant problem, personally. The best performances I see tend to be later in the run, so I always think I should just book those. But there have been so many times where I've planned to see just one performance of a particular cast and gone to their first show, and then been so blown away I book their remaining performances.. which you can't do if you go to the later shows. 2 Link to comment Share on other sites More sharing options...
Richard LH Posted October 21, 2018 Share Posted October 21, 2018 16 minutes ago, miriskusnik said: But there have been so many times where I've planned to see just one performance of a particular cast and gone to their first show, and then been so blown away I book their remaining performances.. This was my experience the new Swan Lake....the only problem being the accumulating costs of repeat performances with Nunez and Takada! I suppose the risk is going to a first night that turns out to a bit disappointing e.g. what some feel about Hirano's Mayerling debut. It could mean further disappointment if it caused you then to miss what seem to have been much improved later performances. Link to comment Share on other sites More sharing options...
alison Posted October 21, 2018 Share Posted October 21, 2018 1 hour ago, Richard LH said: This poses is a bit of a dilemma for future ballets, when a new cast/pairing, or indeed a new production run, is coming up - whether to go for the excitement and novelity of the first night, or wait for things to bed in and go later on. No dilemma for me in this particular case: I'd bought a (relatively) expensive and not particularly good amphi seat because it was first night and Watson/Osipova and I hadn't been able to get anything else and wasn't going to miss any more Watson performances , compared with good standing tickets for the other two. Once the cast change was announced, I decided to give Hirano time to "bed in" and dumped the first-night ticket. (Mind you, for Watson's first run I'd equally decided to wait until his third performance - until I saw that fantastic insight evening in the Linbury, after which I decided I needed to be there at his debut too) But yes, I agree with you generally: I've tended to go for the "bed in" approach where that's appropriate, but have sometimes ended up regretting missing someone's debut when it's turned out to be quite special, by all accounts. 2 Link to comment Share on other sites More sharing options...
Riva Posted October 21, 2018 Share Posted October 21, 2018 I do hope that Matthew Ball is given scheduled performances for the next Mayerling run, whenever that may be. I’m excited to see how he could build on the two performances of this season. In my view at least, he’s certainly earned it. Link to comment Share on other sites More sharing options...
penelopesimpson Posted October 21, 2018 Author Share Posted October 21, 2018 I cannot imagine that he wouldn't be. 1 Link to comment Share on other sites More sharing options...
JohnS Posted October 21, 2018 Share Posted October 21, 2018 Back from the encore performance and a few thoughts. I hadn't booked for this cast in the theatre and was very much wanting to see Laura Morera’s Larisch, as well as the entire cast in light of the many complimentary posts. In Act 1 I thought there was a real magnetism about Steven McRae’s Rudolf, how he bewitches Anna Rose O’Sullivan’s Louise and Larisch’s recollection of her passion for him. I do like Kristen McNally’s Elisabeth and her scene with Rudolf I find very touching - her departing kiss on the forehead is almost a ‘go and do your duty’ with her no doubt reflecting on how she has remained the Empress, loyal throughout to her husband and the Hapsburg Empire, despite the affairs of both which were so poignantly depicted in Act 2. I enjoyed Meaghan Grace Hinkis as Stephanie and Mayara Magri’s sensual Mitzi. I thought James Hay’s Bratfisch one of the most moving portrayals of grief I’ve seen. There’s much talk (quite rightly) of Matthew Ball, Cesar Corrales, Marcelino Sambé etc but James Hay really is a fine dancer. Turning to the three main characters, I thought Lara Morera tremendous. It's so good to have her back on stage giving such performances - everything about her Larisch seemed right to me, such a fabulous dancer and so characterful. It’s also great to have Steven McRae fully recovered - there’s a wonderful sense of ease as regards his technical excellence and I never think he might be in trouble. I prefer other Rudolfs’ depth of characterisation - there’s a bit too much snarl for me and I think others show greater despair. I did enjoy Sarah Lamb’s Mary and she and Steven McRae seemed very well matched technically. I’m sorry if that comes across as feint praise - it’s great to see such accomplished dancing of such demanding roles but I think I also want to see that raw abandon that others have brought. A couple of points about the cinema relay. I very much enjoyed the studio rehearsals with Leane Benjamin and the interviews. One or two camera choices seemed a bit odd to me - we almost missed Elisabeth’s dismissal of Larisch, and I don't think a close up of Rudolf and Mary at the end was sensible when (not surprisingly) you could see them pretty much gasping for breath. During the fireworks the wall lights on the left seemed to have a mind of their own and Elisabeth/Bay were in the dark at one stage - I missed Gary Avis as Bay but even he would have been challenged to dance both Frank-Josef and Bay. I feel slightly disappointed that some Principals are dancing both Mary and Larisch, the two best roles for women, when there are others who are not given a chance to dance either role, particularly the number of dancers who I'd love to see debuting as Mary. I’d got the impression that this Mayerling revival was going to give more opportunities for debuts and that some dancers would therefore not be reprising their May 2017 roles. Whilst there have been some debuts (and the most notable debut was of course unplanned), I’d have liked to see more. That said I'm delighted to have seen Laura Morera's Larisch and look forward to her Mary on 30 October. 2 Link to comment Share on other sites More sharing options...
Mary Posted October 21, 2018 Share Posted October 21, 2018 17 minutes ago, JohnS said: It’s also great to have Steven McRae fully recovered - there’s a wonderful sense of ease as regards his technical excellence and I never think he might be in trouble. I prefer other Rudolfs’ depth of characterisation - there’s a bit too much snarl for me and I think others show greater despair. I did enjoy Sarah Lamb’s Mary and she and Steven McRae seemed very well matched technically. I’m sorry if that comes across as feint praise - it’s great to see such accomplished dancing of such demanding roles but I think I also want to see that raw abandon that others have brought. A very interesting review JohnS thank you, I agree with so much of what you say especially about Morera's great performance, and the poor camera choices at times. You've made me realise I really prefer the wonderful sense of ease, technical excellence, accomplished dancing, to the raw abandon and deep despair. I appreciate that puts me in a very small minority, but there you go! Thanks for crystallising my own thoughts. (But I hope it isn't faint praise to praise technical excellence. ) It's been a fascinating thread so far hasn't it. 3 Link to comment Share on other sites More sharing options...
alison Posted October 21, 2018 Share Posted October 21, 2018 Well, my occasional habit of avoiding busy West End restaurants by eating in the St. Paul's area and then grabbing a bus along to the Strand nearly backfired on me big time on Saturday night. Hopped on the bus, only to find that Fleet Street was closed and it was on diversion, so instead of being there in under 10 minutes I ended up barely making the start of the performance! That aside, and despite the fact that I was fighting a very nasty headache, I found the evening flew by - a noticeable difference from the other performances of the run I'd seen, where I found myself getting bored at one point or another - and I was engaged throughout. A very impressive performance by Matthew Ball, and I look forward to seeing how much he's developed the role next time around when he's had adequate time to rehearse and prepare for it, instead of barely three weeks. 1 Link to comment Share on other sites More sharing options...
capybara Posted October 22, 2018 Share Posted October 22, 2018 10 hours ago, Mary said: You've made me realise I really prefer the wonderful sense of ease, technical excellence, accomplished dancing, to the raw abandon and deep despair. But there wasn't exactly 'technical ease' in the Stephanie pas de deux with MacRae and Hinkis, was there? My cinema viewing was somewhat overshadowed by Ball's mind-blowing Rudolf the night before but I do concede that MacRae has found more depth in his characterisation than was the case last year. Link to comment Share on other sites More sharing options...
capybara Posted October 22, 2018 Share Posted October 22, 2018 9 hours ago, alison said: A very impressive performance by Matthew Ball, and I look forward to seeing how much he's developed the role next time around when he's had adequate time to rehearse and prepare for it, instead of barely three weeks. Ball's Rudolf will change over time but, in my view, he is already 'up there' among the great interpreters of the role. It always seems as if there is a Rudolf for every 'generation'. As one fades away, another emerges to take on the mantle. Ball did that - and some! 2 Link to comment Share on other sites More sharing options...
Mary Posted October 22, 2018 Share Posted October 22, 2018 26 minutes ago, capybara said: But there wasn't exactly 'technical ease' in the Stephanie pas de deux with MacRae and Hinkis, was there? My cinema viewing was somewhat overshadowed by Ball's mind-blowing Rudolf the night before but I do concede that MacRae has found more depth in his characterisation than was the case last year. That's very true capybara, I don't think anyone COULD display ease in that scene! But, I felt that we were safe from any accidents- that McRae's partner was always in safe hands- as someone said above. I much prefer that feeling. I thought Ball was good too, but I was not as wholly persuaded as some others- I suppose it just comes down to personal feelings about it. Personally, I am looking forward to some more 'technical ease' in the lovely programmes coming up..... 1 Link to comment Share on other sites More sharing options...
Esmeralda Posted October 22, 2018 Share Posted October 22, 2018 With the cinema release in my cinema yesterday in the evening it was the third Mayerling in 48 hours - never again ! It made me slightly depressive and on the other side a little bit aggressive. Too much negative feelings and not much to laugh in this short time but at least I could enjoy great dancing in all three performances! I liked McRaes Rudoplh much more better as in the last run! He made it more real and and not so snarling. Wonderful to see Lamb again, I can´t decide if I like her better as Larisch or Vetsera because she gives both very different characters so much deepness and uniqueness. James Hay was wonderful as Bratfisch, very thoughtful and wonderful dancing. Liked him much better than Tristan Dyer on Saturday. It was so wonderful to see Morera on the stage again, can´t wait for her turn with Bonelli! Mayara Magri was stunning as Mitzi Caspar also it was lovely to see her dance with the 4 Hungarian Officers after the rehearsal video - it is always so interesting to see the improvement and small changes between rehearsal and real performance (by the way I noticed there is asnippet from this dance on the RB facebook page) . As a group I liked the 4 Officers from yesterday the most with their dynamic and interacting. I have to agree that there were - again - some not so great camera choices. I thought it was lovely to see Darcey Bussel and Ore Oduba to comment also from the new ROH but one interval would have been enough because it is always nice to see the dancers going to/away from the stage during the intervals. Interesting interview with Deborah MacMillan and also great film with Leanne Benjamin and Lamb/McRae. Could have done without the McRae rehabilitation snippet but I am bad with hearing and seeing pics from injuries...Unfortunaley due to technical issues my cinema could not show completely the first film from the first interval with the backstage scenes. There were no casting or infosheets handed out at my cinema (they did it the last seasons) because apparantly there were no one asking for it (obviously I am no one because I always asked for them, but thank you!) Not only the ROH is bad with their service to the customer... On the other hand there didn´t see to much confusion about the story and who is who except from the couple in front of me for the question if Vetsera is danced by Lamb because Lamb is blonde and Vetsera not. Helpful hints by me about the wonderful concept of wigs were definitely not appreciated, lol. They decided it wasn´t Lamb, well, because Vetsera is brunette. At the end when the cast was listed: "Oh it was Lamb indeed! She probably coloured her hair!" Huh??? Now I am waiting happily for the 30th October with Bonelli and Morera! 7 Link to comment Share on other sites More sharing options...
alison Posted October 22, 2018 Share Posted October 22, 2018 57 minutes ago, Esmeralda said: There were no casting or infosheets handed out at my cinema (they did it the last seasons) because apparantly there were no one asking for it (obviously I am no one because I always asked for them, but thank you!) Not only the ROH is bad with their service to the customer... That reminds me, I was hunting around on the ROH website for the cinecast cast sheet, but couldn't find it anywhere. Or any sign of an electronic programme, if such still exist? Link to comment Share on other sites More sharing options...
Esmeralda Posted October 22, 2018 Share Posted October 22, 2018 1 hour ago, alison said: That reminds me, I was hunting around on the ROH website for the cinecast cast sheet, but couldn't find it anywhere. Or any sign of an electronic programme, if such still exist? I did a quick search before I went to bed last night because I wanted to print it for myself but I didn´t find anything. Thought it was because of my tired and really patient mind that I didn´t find the programme, but maybe ROH canceled it? Apologies to my cinema then! Would be a great shame if they wouldn´t produce an electronic programme anymore. Such a mess... Link to comment Share on other sites More sharing options...
Saodan Posted October 22, 2018 Share Posted October 22, 2018 I was wondering about the digital programmes as well. No mention of them during the insight event and none during the cinema relay. Also, the webpage that used to carry the digital programmes (http://roh.org.uk/publications) still exists, but is blank. I guess this means they have discontinued them. Not especially surprising. Presumably, most of the ‘sales’ were done using the free codes they provided. If very few people were paying money for them, it was probably deemed not to be worth the effort. I used to consider it as included within the £22 I pay for the cinema relays, but I guess the ROH don’t see it like that. Digital programmes, just like accurate, up to date casting information, and a good synopsis, seem no longer to be considered an important part of the audience experience. 2 Link to comment Share on other sites More sharing options...
alison Posted October 22, 2018 Share Posted October 22, 2018 They said they were having "problems" with them during the Swan Lake run, I seem to remember. Whatever that may mean. But I don't actually remember seeing them being promoted anywhere else, for example for people who keep their whole lives on their smartphone and/or don't like wasting paper (and/or now prefer to save a fiver and not buy a physical programme). Or possibly they realised the problems inherent with trying to download the programme inside a cinema auditorium and read it. The fact that you need a wi-fi signal to access it in the first place (since you can't download it), which is not always the case in some cinemas, and then we all know about the problems caused by people accessing their phones in darkened auditoria, don't we? I often thought I'd like to read something while the pre-performance chat was going on, but never actually dared do it. Link to comment Share on other sites More sharing options...
Mummykool Posted October 22, 2018 Share Posted October 22, 2018 13 hours ago, JohnS said: I thought James Hay’s Bratfisch one of the most moving portrayals of grief I’ve seen. There’s much talk (quite rightly) of Matthew Ball, Cesar Corrales, Marcelino Sambé etc but James Hay really is a fine dancer. He certainly is John. He is also a wonderful actor and his attention detail is always meticulous. I absolutely love watching him. 8 Link to comment Share on other sites More sharing options...
alison Posted October 22, 2018 Share Posted October 22, 2018 And underappreciated by some, it would seem. (No need to have loads of posts going "Not by me!" - you can just Like my post if you like ) 12 Link to comment Share on other sites More sharing options...
capybara Posted October 22, 2018 Share Posted October 22, 2018 16 hours ago, Riva said: I do hope that Matthew Ball is given scheduled performances for the next Mayerling run, whenever that may be. In 4 or 5 seasons’ time, Ball will surely be first cast and cinema cast. Link to comment Share on other sites More sharing options...
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