(seen at the performance on 18th May 2026)
The monkey first encountered MacMillan’s choreography watching the press night of the National Theatre’s sublime “Carousel” in 1992. As it types this now, it is facing a cinema poster for the 2024 performance of his “Manon.”
Osipova’s tattered rough dress reminds it once again that ballet is not all tutus and white tights. As“Manon” is louche and tragic, “Mayerling” takes this to new heights – and is based on a true story.
Unfolding over three glorious acts, to swirling Liszt – our orchestra waltzing or menacing, sometimes even both; a tale of selfish obsession and political intrigue holds us spellbound.
Disturbed Crown Prince Rudolph (Marcelino Sambe) abandons new wife Stephanie (Ella Newton Severgnini) at his own Wedding Reception. He manages to flirt with his bride’s sister Louise (Yu Hang), an old mistress, Countess Marie Larisch (Olivia Cowley) and enchant Larisch’s friend’s daughter Mary Vetsera (Francesca Hayward).
An outstanding pas-de-deux is an early highlight. More curious, Hayward plays her younger self, and looks about 14 when doing so. Remarkable.
Nicholas Georgiadis gives us a sumptuous palace, Grant Coyle staging with grandeur and intimacy even on a vast stage. We see the glittering breadth of a Royal Court, but also its corners in which flourish political threats to stability.
A truly shocking rape scene brings the curtain down on act one, the raw sexuality carrying over into the first scene of act two.
A tavern full of prostitutes sweeps aside any idea of sweet ballerinas.
What the corps de ballet are getting up to in various corners of the stage is opera-glasses melting and probably illegal. No wonder Stephanie storms off in disgust.
Charlotte Tonkinson (replacing Marianela Nunez) as Courtesan Mitzi Caspar does well in a dramatic suicide pact sequence and expounding a key plot moment.
The birthday celebration at the Hofburg had the monkey trying to buy a joke cigar at the Opera House shop during the interval (they don’t sell them, but should), and the meeting of Mary and Rudolph is one of the most sensual moments the monkey has seen on stage.
Mica Bradbury as Empress Elisabeth and Olivia Cowley have a high-stress encounter as the Empress evicts her ex-Lady-In-Waiting from her son’s bedroom. So intense that a dressing table is sent rolling towards the wings.
A final frenzied love scene between Sambe and Hayward is simple perfection, the timpani heartbeating tension for a tragic conclusion, conductor Martin Georgiev bringing the house lights up on fading notes.
Magnificent, genius choreography interpreted by the elite of the ballet world. The monkey couldn’t help but sit there and reflect how fortunate it is to be able to live in a city where access to this is always at hand.
Stunning, moving, unforgettable.
5 stars (standing ovation given).