Things to Do: A Review of Mayerling at Houston Ballet

The story should still be as good as in Sir Kenneth MacMillan’s book. Mayerlinga beautifully dark take on a scandalous chapter in 19th-century Habsburg history, currently performing on the Houston Ballet stage.

The scandalous chapter refers to the murder-suicide committed in 1889 by Rudolf, the crown prince of Austria. His victim? His 17-year-old mistress, Baroness Mary Vetsera, whom he shot dead before committing suicide. The crime occurred at a hunting lodge in Mayerling, which gives its name to both the ballet and what is commonly known as “the incident.”

Fun fact (and by fun, I mean macabre): Rudolf was the emperor’s only son, making him the sole heir to the throne of Austria-Hungary. After his death, the heir became Franz Ferdinand, who you may remember from history class as the archduke whose assassination started World War I, a war that ended with the collapse of the Austro-Hungarian Empire. So here is.

MacMillan’s Mayerling, which premiered in 1978, dramatizes the life of Crown Prince Rudolf, from his arranged marriage to Princess Stephanie to his infamous end. In between, we get a glimpse into the prince’s psyche, primarily through his relationships with the women in his life, including his mother, Empress Elisabeth; his wife, Princess Stéphanie; his former mistress/current friend (?) Marie Larisch; former lover and prostitute Mitzi Caspar; and of course Mary Vetsera.

Interestingly, MacMillan teamed up with writer Gillian Freeman, who he tasked with developing a script (which I would liken to writing a libretto) for the series. It’s an inspired decision that results in a deeply complex and compelling ballet, made even more special because it focuses on a male character. The last time such a rich and complex male character graced the Houston Ballet stage was the final production of Mayerling in 2017. It is once again Connor Walsh who takes on the difficult role of Rudolf.

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Houston Ballet Director Connor Walsh as Crown Prince Rudolf in Sir Kenneth MacMillan Mayerling.

Photo by Amitava Sarkar, courtesy of Houston Ballet.

Walsh’s evolution from seemingly disgruntled to degenerate prince – prone to violence, infected with gonorrhea, drug addicted and obsessed with death – is played with wild intensity. Incredibly well-played and superbly nuanced, Walsh’s performance also impresses with his ability to use his impressive athleticism and strength (put to good use, for example, in a series of increasingly dramatic lifts during Rudolf’s final pas de deux with Mary), without ever distracting. of the weakened and deteriorated state of the prince.

Although Rudolf’s psyche is best expressed through his relationships with the women in his life, let’s first talk about his interactions with the other men in his life; specifically, the four Hungarian officers played Ryo Kato, Riley McMurray, Naazir Muhammad and Ryan Williams. He participates in several lively dances with the officers, who literally harass and push him over his support for the separatist cause. Kato, in particular, stood out among the officers with a solo that drew applause (and deserved it).

Aaron Daniel Sharratt’s Emperor Franz Joseph is as inscrutable a figure as Rudolf’s father, just as Yuriko Kajiya and Rudolf’s mother, Empress Elisabeth, are cold. The Empress is, at best, indifferent to her son, but also at times seemingly disgusted and frightened by him. Their complicated relationship is well established in the first act during a heartbreaking pas de deux, much of which takes place consecutively, emphasizing the disconnect between the two.

Countess Marie Larisch is the most inscrutable character in terms of motive. (Why exactly is she playing matchmaker? Because we know it’s not altruism.) And Jessica Collado keeps this intrigue going while showing flashes of genuine concern for the prince, with whom his relationship is marked by familiarity.

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Houston Ballet Director Connor Walsh as Crown Prince Rudolf in Sir Kenneth MacMillan Mayerling.

Photo by Amitava Sarkar, courtesy of Houston Ballet.

On the other side, Mónica Gómez’s Princess Stephanie, whom we see dominated, scandalized and humiliated by Rudolf. It’s entirely understandable that even Simone Acri’s Bratfisch – who delivered short bursts of joyful energy during two solos that are sure to raise a smile – couldn’t cheer her up.

Karina González is given a light and breezy introduction as Mary, and as we glimpse throughout the first two acts, she is every bit the eager schoolgirl. But the tragedy of her relationship with Rudolf is never lost, so by the time they dance their last dance, it’s just plain chilling.

Finally, Rudolf’s second-act sojourn to a tavern—beautifully lit in red hues by lighting designer Lisa J. Pinkham—is electric, and much of that is due to Danbi Kim’s attention-grabbing turn in the role of Mitzi Caspar. Kim’s ability to always look like she’s in total control of the situation is astounding, even as she’s spun, shaken, and effortlessly exchanged between the male dancers.

The ballet score, an expertly patchwork collection of works by Franz Liszt arranged and orchestrated by John Lanchbery, is expertly performed by the Houston Ballet Orchestra under the direction of Ermanno Florio. The orchestra traverses the soundscape, from dark, ominous strings and rhythmic pulses to noisy escapades and climatic swells. Also note, an aria from the second act sung by mezzo-soprano Ani Kushyan, accompanied by Richard Bado, is an unexpected musical treat.

Pablo Núñez’s imposing sets, ornate dresses and impeccable uniforms lend an air of grandeur to the debates which enrich without ever distracting from the toxicity of what we are witnessing.

In terms of story and emotion, MacMillan’s Mayerling is reminiscent of the kind of scripted historical dramas we’re used to watching on cable TV and now streaming services, the kind that receives all the critical praise (deservedly). Except there’s also dancing – glorious, full-fledged human feats performed on stage live in front of you. If you like dance and dark historical dramas, you won’t want to miss this one.