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I know what you’ll be thinking after reading this review – ‘that’s a man whose interests, talents and dare I say it (go on, dare ) expertise all seemingly know no limitations. Besides his well documented love and knowledge of all things pop culture related, not forgetting his runner up prize in the 1999 Southport Pontins Sci-fi geek of the week competition (I was robbed and should have won it btw), the grand poobah of the 5D Pop Culture Website is also remarkably sophisticated and something of a bone fide renaissance man.’ Well, that’s all very kind of you and something I couldn’t possibly comment on due to my classic modesty.
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So yes, it is true that I very much have a soft spot for many aspects of classical music, opera and ballet. I’m a man of many different tastes; last night watching my favourite ever movie The Texas Chainsaw Massacre (1974), tonight it’s a return to the stunning His Majesty’s Theatre in Aberdeen for the visit of the Scottish Ballet.
So when the opportunity for a press pass for a Ballet premiere from the lovely people at Aberdeen Performing Arts, it was simply too good to resist.
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So before I let the cool sophisticated side of me well and truly out into the world, let me tell you a little bit about the synopsis of this remarkable production from Scottish Ballet – Scandal at Mayerling.
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A true story of desire and destruction.
The year is 1889 and, in the woods outside Vienna, the royal family must hide a terrible secret. At the royal Mayerling hunting lodge, Crown Prince Rudolf is found shot dead alongside his teenage mistress.
We rewind the clock to watch this desperate young man, the heir to the throne, plunge into his own paranoia. Trapped by the stifling opulence of the Habsburg court, Rudolf’s mental turmoil envelops all those around him. In a series of increasingly intense duets with his mother, his wife, and his mistress, Mary, Rudolf descends deeper into his obsession with death, and hurtles towards tragedy.
Rudolf’s morbid fascination, sexual appetite and ultimate violence make this real-life anti-hero as compelling as Hamlet, while Sir Kenneth MacMillan’s breathtaking choreography takes us on a physical and emotional rollercoaster. The sweeping intensity of the ballet is matched by the sumptuous music of Franz Liszt, performed live by the Scottish Ballet Orchestra.
Reimagined and redesigned by Scottish Ballet, this dramatic world premiere will be the first time MacMillan’s iconic ballet is produced in the UK outside of London.
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The production’s choreography took me completely by surprise in the variations of genuine beauty, intense romance and gracefulness at one moment, while other times morphing into a maelstrom of violent sexual power that occasionally borders on producing an overbearing atmosphere of barely concealed brutality. It simply takes the breath away.
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The central roles of Rudolph and Mary Vetsera are beautifully acted and danced by Ryoichi Hirano and Constance Davernay respectively, with both providing rich characterisation to each of their doomed characters. Ryoichi joined Scottish Ballet as a guest principal for The Scandal at Mayerling, with kind permission of The Royal Ballet from where he became Principal in 2016. The character of Rudolf, a decadent hedonist with an over abundant taste for wine, women, drugs, violence…..and more women , could easily fall into cliche and parody.
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However, Ryoichi skillfully balances the lavishly energetic decadent side of this character with the troubled psychological manifestation that he experiences from the consequences of his behaviour. It’s a truly mesmeric performance with a combination of raw passion and vulnerability that makes what could have been an unlikeable despot into a deeply sympathetic figure. His artistry, sexual energy and stunning dancing provides the template for the peaks and troughs of changing emotions throughout.
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Ryoichi’s performance is equalled in no small measure in the portrayal of Mary Vetsera, delightfully danced by Constance Davernay. Each meeting between the lovers is at times achingly poetic with her providing a beautiful mixture of innocence and obsession and the choreography of their blossoming relationship in the 2nd act is quite simply breathtaking. It’s a beautifully structured and powerful depiction of a connection that seems genuinely charged, while at the same time a tragic reminder of the suicide pact that is being devised. Beautiful.
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For me, the act set in the tavern is the most powerful and enjoyable of the production, with not only a further dive into the troubled mental issues of Rudolph and his destructive appetites but also in regard to the energy and decadent sexually of the dancing. The Brothel workers, strikingly resplendent in their costumes are fabulous.
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So what more is there to say? Except that the set design is incredible, with hues and palettes of rich colour to delight the senses and a plethora of small but clever set designs that occasionally catch the eye. The costumes are suitably beautiful and lavish, the ensemble cast are without exception, excellent.
The score from Franz Lizst is gorgeous, alternating between sensual scenes of romantic beauty and at other times ensuring the audience with a breathtaking power performed live by the Scottish Ballet Orchestra. led by conductor Jean-Claude Picard.
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Whether you are a seasoned lover of the Ballet or simply someone who wishes to dip their toes into new cultural waters, then this production will not disappoint. It’s bold and beautiful, sexy and seductive, decadent an destructive. Above all, it’s magically memorable.
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The Scandel at Mayerling runs at His Majesty’s Theatre until May 7th and more information can be found HERE.
You can find out more about this and other productions from Scottish Ballet HERE.
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