Scottish Ballet - The Scandal at Mayerling (Spring 2022)

[ChrisG]

Avanti West Coast got me safely up to a cool, breezy and damp Edinburgh to see the second show of the Festival Theatre run of The Scandal at Mayerling. From what I'd read and heard of this production and that I've never been disappointed by Scottish Ballet yet I had high hopes, even though in the original RB version it's my least favourite of the Macmillan 'big three' with Manon and R&J. 

 

Those hopes were totally justified - it was like seeing something entirely new and yet totally familiar, and I loved it. What Christopher Hampson and Gary Harris have done is to strip back the production to its essentials by getting rid of much of the extraneous business of the original version (I wasn't entirely sure exactly what was missing - possibly a bit of Bratfisch and Hungarian Officer action and some of the brothel scene - I'd have to check the DVD to confirm this), and of the somewhat overwrought sets of the original. The new sets are minimalist, usually just a backdrop and few pieces of furniture relevant to the scene, but with clever lighting they never felt sparse. The Liszt score has also been reorchestrated by Martin Yates to fit the slightly smaller resources of the Scottish Ballet Orchestra, but it still sounded rich and full-bodied (though I have to say I was sitting directly behind the conductor's right shoulder!).

 

What has resulted is a lean, mean version which comes in at just over two hours with a single interval (Act 1 is as the original, and Act 2 is the original Acts 2 and 3 run together). It means it concentrates more than ever on the meat of the story, the relationship between Rudolf and the women in his life, and his gradual mental deterioration, and the shorter running time really brought that deterioration into focus. Rudolf was danced tonight by Jerome Barnes, a dancer new to me, but one who'd obviously been well coached by Ed Watson (Watson and Leanne Benjamin were the two guest principal coaches from). His interpretation was very different to Watson's though. In the early scenes he had an air of laddish arrogance which as he declined was submerged by the characteristics and mannerisms of a substance abuser. A really interesting portrayal I thought. Playing Mary Vetsera, Constance Devernay, despite her many years now as an SB dancer, was convincing from the word go as a besotted teenager, but was able to darken that characterisation convincingly as she began to exert her hold over Rudolf. The other main female characters were uniformly excellent, Bethany Kingsley-Garner as a genuinely scared Princess Stephanie, Grace Horley as a slightly vain Empress Elizabeth embarrassed by her son's attentions, Marge Hendrick as a scheming Countess Larisch, and Claire Souet channelling her inner Laura Morera as Mitzi Caspar. Thomas Edwards as Bratfisch was excellent in his big Act 2 solo.

 

The physical and emotional demands of the choreography held no fears for any of the principal dancers. A better more knowledgeable eye than mine might have spotted the odd fumble but to my eyes they were made to dance this choreography. Rudolf and Mary's final pas de deux in particular was danced full out with no prisoners taken on either side. Having seem Scottish Ballet now dance this as well as Elite Syncopations and The Fairy's Kiss I would have to say that their particular brand of theatricality is made for Macmillan's choreography. As an aside, I love how the programme proudly claims Macmillan in his biography as a Scottish choreographer - excellently done!

 

To sum up, an extremely enjoyable evening. Maybe it'll even make me appreciate the original a bit more when I see it again next season. Hopefully it'll get to Sadler's Wells eventually like The Crucible is doing soon (another excellent production). If so, I would heartily recommend seeing it.

 

Edit - just spotted one big cast difference comparing this version to the original - the 'Bay' Middleton character has disappeared

Edited May 26, 2022 by ChrisG
Clarification

[capybara]

I very much wanted to go to this but the travel costs were prohibitive from both Euston and Kings Cross.

Jerome Anthony Barnes is RBS trained and graduated as recently as 2017.

[Peanut68]

Another company 'new' to me....very much looking forward to seeing The Crucuible at SW.....although family issues might prevent this....fingers crossed I/ll make it!

[li tai po]

I read somewhere that the Scottish Ballet version omits Katharina Schratt's song.  This seems a pity to me, as this is one of the highlights in an evening of dramatic irony.

 

Kenneth MacMillan noted that many operas have a ballet divertissement and he wanted to move in the opposite direction by inserting a song divertissement into a ballet.

 

Her song is about taking leave of a beloved and reflecting that in life there are more departures than reunions.  The refrain "Leb wohl, ich scheide" - "Farewell, I am leaving" is prophetic of the impending finale of the ballet.

 

Katharina Schratt is the mistress of Emperor Franz Josef and her position is sufficiently official that the Empress Elisabeth presents the Emperor with a portrait of Schratt on his birthday.  Throughout the song, Countess Larisch is flirting on the side with Rudolf - but in contrast to Katharina Schratt, her position is officially frowned up and suppressed.  Sauce for the goose, but not sauce for the gander.

 

[alison]

I suppose they had to cut somewhere, but I think it's a bit of a shame. That birthday party to me is a reflection of the double standards at court: both the Emperor and Empress are openly having extramarital affairs, but Rudolf isn't supposed to. 

[ChrisG]

7 hours ago, li tai po said:

 

I read somewhere that the Scottish Ballet version omits Katharina Schratt's song.  This seems a pity to me, as this is one of the highlights in an evening of dramatic irony.

 

Yes, it does - I’d forgotten about that! I have to say that even as a singer myself I didn’t miss it despite whatever its significance may be. I’m guessing it was one of the first things on the cutting room floor

[capybara]

There was a run of Mayerling by the RB which omitted the song also.

[alison]

But only the one run, I think - and it didn't omit the whole scene.

[SheilaC]

On 26/05/2022 at 23:43, capybara said:

I very much wanted to go to this but the travel costs were prohibitive from both Euston and Kings Cross.

Jerome Anthony Barnes is RBS trained and graduated as recently as 2017.

Jerome Barnes gave a stunning performance at yesterday's matinee, well danced, coping well with the difficult partnering, and charting persuasively and movingly Rudolf's psychological decline. The greater focus on the relationships, due to cutting some of the more general scenes, intensifies the emotional impact of the tragedy. Constance Devernay as Mary Vetsera and Bethany Kingsley-Garner as Princess Stephanie were also compelling.

 

I was disappointed that the audience wasn't bigger, apparently about 500, and only about 650 on the Friday night. The orchestra had been considerably extended so the production must have been expensive, with the new designs, very effective, so the company must have lost money on it.

 

Londoners who are considering travelling to the regions for ballet will save money on travel costs by booking as far ahead as possible. Theatre tickets tend to be cheaper away from London which can help.

[capybara]

3 hours ago, SheilaC said:

Jerome Barnes gave a stunning performance at yesterday's matinee.

 

Londoners who are considering travelling to the regions for ballet will save money on travel costs by booking as far ahead as possible. Theatre tickets tend to be cheaper away from London which can help.

It’s good to hear about Jerome Anthony Barnes’ performance. Thank you!

Unfortunately, it’s not always possible to book trains well ahead, for a variety of reasons.