The Royal Ballet: Mayerling, London, April/May 2017

[Jamesrhblack]

2 minutes ago, Coated said:

The length is perfect, James. Thank you for your wonderfully articulate write-ups, all I can add it that I very much agree with your perceptions.

Thank you for your kind words.

[Sim]

6 hours ago, bridiem said:

 

Doesn't Bratfisch always drop the hat in the end? I thought it was choreographed, i.e. he stops trying when he realises he's not going to get through to them. Or maybe they do generally just drop it eventually?!

Yes they do always drop the hat. It shows the futility of trying to engage with either of them, and the end of his trying to instil some kind of normality to the sad situation in which he finds himself.  

[Sim]

I was going to write some words about the Bonelli/Morera cast this afternoon, but there is nothing more I can add to James's superb piece above.  He has encapsulated my feelings to a tee.  To put it much less eloquently, they blew me away.  Knocked me for six.  Cleft my heart in two.  If someone had offered me an oxygen mask at the end, I'd have grabbed it and breathed deeply, to replace what I had lost watching this stunning performance.  It begs the question....why on earth have we had to wait so long for these debuts?  Yes, it was more than worth the wait, but if this is going to be their only run I will always regret that deeply.  On the other hand, maybe we wouldn't have had the intensity and the sense of abject desperation that we had today if they had been dancing it for years.  That final pdd was a masterclass in how to do it.  I don't even know what 'it' is in this context, but these two artists did 'it' today, and showed everyone lucky enough to be there how this art form can leave you feeling emotionally drained yet on an elated high at the same time.  Gosh, I am getting emotional all over again just writing these words.  For me, that says it all.

[Scheherezade]

14 hours ago, Jane S said:

 

And can he juggle?

 

Since he can, he (Campbell) should be first in line when they next cast for the Phelim McDermott production of Akhnaten, which presented more juggling opportunities than Billy Smart's Circus. That apart, I can only echo all the praise that has already been heaped upon Campbell's wonderful Bratfisch with its unique emotional clarity and stunning technique. What a scene-stealing tour de force!

 

Changing the topic somewhat, I have been wondering about some of the mixed reactions to Friday's performance. Some of the posters have mentioned that the ballet made less of an impact upon them this time round. It is, of course, extremely difficult to match the intense reaction to a superlative first experience (to replicate that 'blown away' feeling) since we know what to expect, and I wonder whether this might have had something to do with some of Friday's reactions. Personally, and although earlier Watson/Galeazzi pas de deux may possibly have produced more heart-stopping moments, I found Friday's performance deeply moving and the Watson/Osipova partnership darkly compelling and utterly convincing. For me, (and the alarming costume malfunction is obviously omitted here) those few imperfect, fumbled moments only added to the authenticity.

 

I can't really add to the plaudits that have already been given to the rest of Friday's cast, there really is nothing more to say: Sarah Lamb, Marianella Nunez, Zenaida Yanowsky - all utterly superb! I loved Francesca Hayward's portrayal: those little moments, the way her hands fluttered helplessly around her temples, those extraordinary articulate feet! And what could possibly surpass the dark and thrilling intensity of Liszt's wonderful Transcendental Etudes?

 

Sadly, I don't have tickets for the Morera/Bonelli cast but, my goodness, their performance seems to have been a very special experience indeed! Again, as others have already said, we are so lucky to have such an embarrassment of talent in the company at the moment. Long may it continue!

[annamk]

10 hours ago, Jamesrhblack said:

The curtain came down in silence. It was one of those performances that had gone somewhere none of us could have anticipated.

 

The only explanation I can produce (and I'd welcome thoughts from other people, perhaps especially those who were less impressed than I was) is that in their freshness of execution, their occasional clumsiness and errors, their determination to present a truth that they couldn't always perform perfectly, there was nothing routine, safe or "managed" in what was done. The emotional honesty was laid bare..

 

I've written at much too much length. It was a performance that moved me very much.

 

 

 

You absolutely didn't write too much - I was as moved as you clearly were and I wanted to reflect on why that might be, especially when I didn't anticipate it at all. I think very much part of it is in your 2nd paragraph above. 

 

I went thinking Bonelli/ Morera had been "miscast" :Bonelli being far too nice and princely to play Rudolf and Morera well, I didn't see how she would possibly convince me that she was a young girl. After the rehearsal, I also thought I'd seen the ballet too often and that much of it was beginning to feel tired and dated to me particularly the excruciating Tavern scene. But early on at the matinee I realised I had completely misjudged the leads. Bonelli has always been a master of making movement and small gestures speak volumes and I think that helped him enormously here - he doesn't need to go in for histrionics to convey the character - that reminded me of Kobborg's early and greatest Rudolf. But what took their performance to another level altogether was the intensity of the chemistry between them which felt so real and is so so rare on stage and in this again I was reminded of Kobborg/Cojocaru. 

 

The supporting cast were uniformly excellent in particular Campbell, Cowley and Hay. 

 

It was one of the most moving performances I've seen for a long long time. 

[penelopesimpson]

James, you can never write too much about this ballet and I enjoyed every word of your lovely review.  Thank-you.

[Fonty]

How did the audience react to both performances?  I hope both casts got the standing ovations they obviously deserved.

 

 

[elisabeth]

Did anyone see the Cuthbertson/Soares performance last night?  Would be very interested to have a report.

[MAB]

12 hours ago, Sim said:

Yes they do always drop the hat. It shows the futility of trying to engage with either of them, and the end of his trying to instil some kind of normality to the sad situation in which he finds himself.  

 

Also Rudolf generally picks up the hat and hands it back.  A prince picking up a servants hat!

 

It vividly underlines the close relationship between the two men.

[Johnpw]

26 minutes ago, Fonty said:

How did the audience react to both performances?  I hope both casts got the standing ovations they obviously deserved.

 

 

On Friday I was sitting in the amphitheatre. There was no standing ovation around me and I couldn't see if there was one lower down. Plenty of loud cheering though especially for Ed Watson. At the matinee one lady at the back of the stalls stood to applaud when the three principals took their bow at a closed curtain, but that's all I could see. Lots of cheering: my impression (only that) was the cheering was louder on Friday evening. Anyway, however it was manifested, there was lots of well-deserved warm appreciation at both performances. 

[Vanartus]

Just a quick reply to a question re using younger dancer for MV in first act (sorry if someone has already responded!) - the first dancer to do this was Ferri in autumn 1982

[Guest]

13 minutes ago, Vanartus said:

Just a quick reply to a question re using younger dancer for MV in first act (sorry if someone has already responded!) - the first dancer to do this was Ferri in autumn 1982

I am beginning to wonder if Laura Morera hasn't already danced the younger Mary Vetsera many years ago. 

[Beryl H]

21 hours ago, Darlex said:

There are studio rehearsal photos in the programme taken by Alice Pennefather of the four different Rudolf/Mary partnerships with a page devoted to each (2 - 4 photos per couple). You'll find them on pages 24 - 27! There are also photos from the 2009 and 2013 revivals of Watson, Soares, Campbell and the 'ladies' from the tavern.

 

Many thanks, I'll go ahead and buy one on Thursday!

[Vanartus]

1 hour ago, Darlex said:

I am beginning to wonder if Laura Morera hasn't already danced the younger Mary Vetsera many years ago. 

I remember MacMillan saying that he was astonished how young Ferri looked - and that he took advantage of this to replace the "child dancer"

with Ferri. I know this was an exception as I think a younger dancer was used in act 1 when Collier danced MV in the early 80's. I think when the first generation of MV's faded out, it was then that they tended to use the same dancer throughout.

[Guest]

I seem to remember in the 90s that it was done both ways in the same run. I think Leanne Benjamin danced throughout whereas Gillian Revie, (who was taller) and Lesley Collier didn't dance Mary as a child. I might be completely wrong, but that's how I remember it!

 

 

[Bluebird]

Your memories are correct.  Here are four 1992 casts from the ROH performance database

 

Mary is danced throughout by both Viviana Durante and Leanne Benjamin

http://www.rohcollections.org.uk/performance.aspx?performance=14693&row=31

 

http://www.rohcollections.org.uk/performance.aspx?performance=20211&row=34

 

In Lesley Collier's cast and also in Gillian Revie's cast, the young Mary is danced by Michelle Davis

 

http://www.rohcollections.org.uk/performance.aspx?performance=20203&row=33

 

http://www.rohcollections.org.uk/performance.aspx?performance=20222&row=37

 

 

 

 

 

 

Edited April 30, 2017 by Bluebird

[Guest]

2 minutes ago, Bluebird said:

Your memories are correct.  Here are four 1992 casts from the ROH performance database

 

Viviana Durante and Leanne Benjamin both play Mary as a child:

http://www.rohcollections.org.uk/performance.aspx?performance=14693&row=31

 

http://www.rohcollections.org.uk/performance.aspx?performance=20211&row=34

 

In Lesley Collier's cast and also in Gillian Revie's cast, the young Mary is played by Michelle Davis

 

http://www.rohcollections.org.uk/performance.aspx?performance=20203&row=33

 

http://www.rohcollections.org.uk/performance.aspx?performance=20222&row=37

 

 

 

 

 

 

Thank you, Bluebird. That's reassuring!

 

[Coated]

I find it endlessly fascinating how each Mayerling in this run felt different so far, yet each performance works in its own parameters (or more precicely, as interpreted by me)

 

Ed Watson is the angst-ridden Hamlet of Rudolphs, nearly nihilistic

Bonelli is deeply hurt, slowly succumbing to darkness

Soares is brooding, threatening in his misery, a bit of a bruiser and, err, surprisingly raunchy

 

You can see how the various woman are attracted to each Rudolph (apart from his status) but one thing that I found particularly interesting was the way each dancer handled the end of the pdd with Stephanie.

 

Watson didn't climb on the bed at the end of the dance, letting the scene end in a less graphic manner, but also indicating a lack of interest in any type of relationship with his wife.

 

Bonelli rejects but also wants some connections, and when he enters the bed he has a degree of tenderness towards his bride beneath the disregard he has for her and the world as a whole.

 

Soares comes across as a prince who revels in the earthy side of life and uses it as a means to flee from his miserable reality. He doesn't enter the bed, but starts to undo his buttons in what has to be the most tense and foreboding stage unbuttoning I can think right now and somehow turns the scene into a threatening but oddly sensual ending that forshadows his relationship with Mary.

 

I don't have anything to add about the first 2 performances that James hasn't mentioned yet.

 

I liked the Soares / Cuthberson performance in yet another way than the previous 2. There were some weaknesses in the dancing that were a bit too noticable at times, but characterwise I bought into Soares interpretation and felt that anything that was lost in the odd off colour solo was made up for in partnering and slinging Cuthbertson around like a precious feather or ragdoll depending on what mood took the prince.

 

I couldn't quite read what type of Mary Cuthbertson played, but I think that is more connected to exhaustion setting in on my part watching 3 Mayerlings in a row - no idea how people actual dance them. Luckily I have another ticket for this cast so I can watch it when not half asleep with hurty feet.

 

Choe's reactions as Stephanie were a bit too strong to work for me, it didn't make sense for her character to show abject shivering terror at one moment, only to shortly afterwards run after Rudolph and encircle him. If you'd just experienced that level of utter terror, you'd either be catatonic, banging on the bedroom door for help or grab the nearest weapon - you would not voluntarily touch your source of terror unless you were trying to kill him.

Edited April 30, 2017 by Coated

[jmhopton]

Thank you Jamesrhblack for articulating my thoughts about both performances far better than I could myself. I too came out of Friday nights performance feeling I'd seen a great performance but it hadn't moved me as much as other recent performances; Vadim in Jewels, Francesca in Sleeping Beauty. However, the Saturday matinee definitely had the 'wow' factor and got the heart racing. the two leads were sensational but ALL the cast were on top form and that seems to be the secret of the Royal's current success. When you see a perfect performance it is not only the principals performances that you remember but everyone else too. I particularly liked James Hay's Bratfisch. I have heard a lot about him on the forum but haven't seen much of him and he was a revelation (though I loved Alexander's Friday performance as well, also his Lead Hungarian officer was brilliant) I was also really impressed with Tara-Brigitte Bhavnani as Countess Elizabeth. it was awful to see her so cold to poor Rudolf who so desperately wanted her love and yet be so flirtatious towards Bay Middleton.

 

To return to the two leads, I was really impressed with Bonelli and Morea in Frankenstein; a ballet I actually enjoyed, and in Mayerling they seemed to carry on where they left off in this ballet in terms of emotional involvement both in the characters they portrayed and in their personal chemistry. They were sensational and I only hope they will be cast together in Manon next season (a cinema broadcast would be good!) and hopefully Onegin the year after. My only regret was this performance wasn't filmed for broadcast. it would have been amazing. I can only echo Kevin O'Hare's words as he left the theatre, 'Wasn't that fabulous'!

[penelopesimpson]

Reference ovations, I was in the Stalls Circle and could see that the Balcony and Grand Tier were standing. I was disappointed that others weren't but... .  Can never judge these things.  Went to the last performance of Woolf Works and the whole house stood.  Oh well, roll on Tuesday.

[alison]

1 hour ago, Coated said:

Watson didn't climb on the bed at the end of the dance, letting the scene end in a less graphic manner, but also indicating a lack of interest in any type of relationship with his wife.

 

[...]

 

I couldn't quite read what type of Mary Cuthbertson played, but I think that is more connected to exhaustion setting in on my part watching 3 Mayerlings in a row - no idea how people actual dance them. Luckily I have another ticket for this cast so I can watch it when not half asleep with hurty feet.

 

 

Choe's reactions as Stephanie were a bit too strong to work for me, it didn't make sense for her character to show abject shivering terror at one moment, only to shortly afterwards run after Rudolph and encircle him. If you'd just experienced that level of utter terror, you'd either be catatonic, banging on the bedroom door for help or grab the nearest weapon - you would not voluntarily touch your source of terror unless you were trying to kill him.

 

Taken in order:

- that's new.  I'm sure he's always done that in the past.

- I know.  I was really disappointed to have 3 casts I wanted to see all within the space of not much more than 24 hours - just not do-able (for me or, ideally, for the dancers, I should think).  I probably said this when the performances were originally announced, but I wish they'd been spaced further apart, partly for the audiences' sake, and partly because it's an incredible risk if a Rudolf gets injured, not leaving enough leeway to switch a cast around if necessary.

- Yes.  Several interpretations have made me wonder that in the past.

 

1 hour ago, jmhopton said:

To return to the two leads, I was really impressed with Bonelli and Morea in Frankenstein; a ballet I actually enjoyed, and in Mayerling they seemed to carry on where they left off in this ballet in terms of emotional involvement both in the characters they portrayed and in their personal chemistry. They were sensational and I only hope they will be cast together in Manon next season

 

 

So do I.  They've only clocked up one performance together, and I've always wanted to see them in it again.

[alison]

13 hours ago, annamk said:

I went thinking Bonelli/ Morera had been "miscast" :Bonelli being far too nice and princely to play Rudolf and Morera well, I didn't see how she would possibly convince me that she was a young girl. [...] But early on at the matinee I realised I had completely misjudged the leads.

 

I'm sure that will be of comfort to people wondering about Steven McRae, too.

[alison]

On 29/04/2017 at 22:17, Johnpw said:

At today's matinee, Bonelli and Morera moved me more, especially Bonelli, who somehow seemed to evoke a more pitiful quality.

 

On 29/04/2017 at 20:05, BMC said:

That's another thing I really like about this ballet because, for me, being moved is not a prerequisite for enjoying it, it's just one of many reactions I can have to how the dancer presents the part, and how the others interact around him. Endless nuances and permutations! 

 

One of the things I like about the ballet is that dancers' interpretations can differ so much: some want us to like Rudolf, or at least feel sorry for him, some don't care whether we do or not, and everything in between.  (I find some rather more effective than others)

 

On 29/04/2017 at 01:40, Coated said:

I think Watson has definitely learned that he needs to pace himself to survive a Mayerling,  perhaps even holding a bit too much back at the beginning.

 

That said, if I've picked up correctly from his Twitter feed from a few weeks ago, I think it would have been his first time back on stage after a stress fracture (might he even have been suffering with it during Les Enfants Terribles?).  That may be a contributing factor.  By no means an easy return, if so.

[Jamesrhblack]

7 hours ago, alison said:

 

I'm sure that will be of comfort to people wondering about Steven McRae, too.

Although I doubt I will get to see this cast (and still reeling with Bonelli and Morera), I can imagine that McRae's highly intense stage presence, properly harnessed, could prove fascinating in the role. He has become an exceedingly strong and capable partner with a variety of ballerinas and is an intelligent artist. I've not found his stage presence ingratiating of late but that's not necessarily an issue with Rudolf (although Bonelli's flashes of charm and unexpected gentleness brought a new and unexpected side that worked for me) and within a strong acting frame he will, I am sure, surprise his detractors and thrill his supporters.

[Mary]

Coated- thank you for the detailed review- the variations are interesting. I am sure Watson DID climb on the bed at the end of Act 1 the night I saw him- most definitely- did you mean one of the other dancers?

 

 

[BMC]

Yes, I felt with Federico that there was possibly a good man in there somewhere - if circumstances were different, whereas with other Rudolfs you just feel he is a nasty piece of work. As we keep coming back to, it's fantastic to have a ballet, rooted in actual facts, that allow for such a range of interpretations.  I used to find the pas de deux with Stephanie almost unbearably cruel when danced by Kobborg and Cope (I think it must say something rather disturbing about me that I loved them both in the role!). And the moment when Mary stands behind Rudolf in the bedroom pas de deux ( the headache bit if I can put it that way) Laura seemed sympathetic to him whereas Tamara (in my opinion anyway) looked like a praying mantis - a sort of 'got him' feel to the way she bore down on him. And I think if Rudolf had any ideas at all of backing out of the suicide pact, I think Natalia's Mary would have made sure he went through with it!

 

Roll on today's matinee and no doubt new angles to explore! And Thiago in Thursday (very impressed by his performance in the last run).

 

Apart from all the main (wonderful) performances, also unexpectedly enjoying other parts of the ballet e.g. the Hungarian officers' dance with Mitzi on Saturday afternoon - great interaction between the five dancers.

[Sim]

Yes.....for me, Kobborg/Maguire are still the Rudolf/Stefanie that no other coupling has surpassed.

 

Ed did climb onto the bed on Friday night.  

[bangorballetboy]

Watson and Soares both ended Act 1 on the bed though in different positions with Princess Stephanie. All 3 Act 1 bedroom pd2 so far have been excellent.

[Coated]

3 hours ago, Mary said:

Coated- thank you for the detailed review- the variations are interesting. I am sure Watson DID climb on the bed at the end of Act 1 the night I saw him- most definitely- did you mean one of the other dancers?

 

 

I should probably have said "didn't climb onto Stephanie" since it looked to me that he was leaning / sitting on the end of the bed - or perhaps I lost some view from the angle I sat at (And now that I typed that sentence about climbing I realise why I didn't type it before...)

Edited May 1, 2017 by Coated

[Coated]

47 minutes ago, bangorballetboy said:

Watson and Soares both ended Act 1 on the bed though in different positions with Princess Stephanie. All 3 Act 1 bedroom pd2 so far have been excellent.

Rereading my previous post, it really should have had a thorough edit. It should have said that Soares didn't enter the bed immediately and not imply that he didn't do so at all. It'll teach me to type up something quickly before being chucked out at closing time...

[Fiz]

We can't make this run but I would just like to say how much I am enjoying the comments on this marvellous ballet. I remember when we saw it, there was dead silence for a moment or two and then the audience erupted into sustained applause.

[Sim]

1 hour ago, bangorballetboy said:

Watson and Soares both ended Act 1 on the bed though in different positions with Princess Stephanie. All 3 Act 1 bedroom pd2 so far have been excellent.

So did Bonelli....and of the three, he made it the most abundantly clear what he was doing to Stephanie.   Pretty graphic, but made total sense after the treatment he had just meted out to his wife in preparation for that moment....

[penelopesimpson]

Meanwhile, over at ROH, isn't Macrae making his debut?  Can't wait to hear.  I think we may be in for some surprises