What did you think of the show?
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theatreguys 
The Price – a thought provoking play. Interesting to see how the same situation is seen from different points of view. Victor thinking he is helping his father and not listening to his wife and resenting his brother who is only thinking of himself and trying to justify it with money. What is the difference between the price of a life and the price of possessions? The dealer had another view of price and put together made an excellent comment of long held prejudice. I thought all four actors were excellent but for me the dealer stood out. I enjoyed seeing a theatre new to us and hope to visit again. Thank you Fredo, another play to make you think.
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Monica and Robin
The Price.
Timebends a ‘tome’ arrived on Wednesday! Will take some time as have other books to read!
Love Miller’s plays and must confess didn’t know The Price. As always thoroughly absorbing with an extremely strong cast. Interestingly, Robin didn’t find Victor as clear as the others? The set took some doing putting it on? Makes a change from the minimalistic ones we often see.
Agree, the seats are close together, we were row C but good being so close up!
Another thoroughly enjoyable evening, thank you so much Fredo and Mike.
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The Price
There’s a distinction between what something costs and what it’s worth. In Arthur Miller’s play, the furniture that Gregory Solomon comes to appraise is a metaphor for the family of brothers Victor and Walter. It symbolises their former wealth and how it is now devalued. In the course of the play, Miller examines how far we are prepared to haggle and finagle to ensure our survival, and the price we’re prepared to pay to protect the people we love.
Even in preview, the actors gave note-perfect performances. Faye Castelow’s Esther was at the end of her tether as she saw the lifeline she desperately craved being withdrawn from her, and despite his late arrival in the play, John Hopkins brought force to the the prodigal brother Walter.
It is impossible for an actor to resist the temptation to steal the scene as the appraiser Gregory Solomon, and Henry Goodman easily gave in. It was an irresistible characterisation, part charlatan, part judge dispensing the wisdom of his namesake, Goodman almost stole the entire show (as I’ve seen other actors do).
Almost. But not in this case, as Elliot Cowan gave a blistering performance of the defeated Victor (irony alert there). He was never off stage, and he expressed every emotion that Victor felt and every doubt that clouded his mind. It was his play, and Henry Goodman generously allowed him ownership of it.
Now I’m taking up Fredo’s recommendation to read Arthur Miller’s autobiography Timebends. It arrived with a thud today, and will keep me occupied for some weeks to come
Fraser
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The Price
I wholly agree with Garth’s comments above and agree with him over the great performance from Elliott Cowan and Googled him for more information, as he was new to me. He is 49, exactly the same as his character – a nice coincidence . In one or two pieces I have recently read on the web, Vic is named as the main character and his is surely never off the stage. He has great physical presence and a strong voice for the most dramatic climaxes. John Hopkins was also so good, putting his own character, as perceived in Act One, into a different light, and altering ones perceptions of the other characters. (I confess that I missed his appearances in Midsommer Murders). Faye Castelow was sympathetic as the frustrated women caught up with the machinations of the men, and powerful in her big moments. And then, of course, there is Henry Goodman as Solomon. He is the star billing and was totally transfixing and presented us with warmth and amusement. As Garth says, it is on the edge of caricature, but Goodman’s performance is so beguiling that one has to give in. I would really like to see this play again as it contains so many moral points, and the title of The Price is indeed apt. The cost of decisions made, both in terms of finance and family cohesion , are complex indeed. At the end I wasn’t wholly convinced that Vic could have a new career at his age, but I hoped the he and Esther will somehow have a better future.
I really liked the theatre, though in row B it was very cramped – don’t know if spacing was the same further back. However, it was a superb seat, right in the centre, and it was a privilege to see such superb acting up close.
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THE PRICE
The Price last evening was quite excellent; I never lost interest for a second. Which was odd because I did not like Broken Glass at all.
Greg
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The Price
I guess we all have an attic of some sort, physical or mental or both, and Arthur Miller makes powerful use of its metaphorical possibilities in his play. Those great lumps of brown furniture and the assorted bits and bobs may look as though they are in transition out of our lives, but despite their mute and immoveable appearance, they are latent reminders of our past errors and joys. Try and get rid of them and heaven knows what will ensue.
The playwright loves a meaty symbol and he chews over this one at some length (there was a degree of repetition, but of course, families are prone to that….). His four vivid characters are never short of a word or three. They readily dig into their own pasts and into the history of America and “the system” that can bring both triumph and disaster, both material and psychological.
All four actors were on top form, passionate and convincing. As the hapless policeman, Elliot Cowan was for me the most engaging, holding the stage throughout. Henry Goodman gave a marvellously detailed spirited performance as the old dealer, just about staying this side of caricature. Faye Castelow was a fiery catalyst, effective in a role that Miller did not really round out. As the flawed brother, John Hopkins was also strong, his sudden appearance at the top of the stairs bringing act 1 to a screeching halt. (I kept trying to dismiss his Midsomer Murder days from my mind).
All in all, a terrific show, the well-filled set and atmospheric lighting offering a memorable context for some great ensemble playing.
Garth
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Mayerling
Despite all the problems you had with the Opera House which I’m so sorry you had to contend with Fredo, it was good to be back.
I thoroughly enjoyed the ballet as it is so different and amazed at the costumes they danced in and some of the dancers ‘contortionists’?
Like a bit of doom and gloom. All of it was outstanding.
The friend we took had never been to the Opera House or seen a professional ballet and so loved every aspect of it all. Must say I didn’t know the ballet and didn’t know what to expect.
Thank you both for yet another delightful afternoon and introduction to another ballet.
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Mayerling
Several days later and my mind is still whirling with thoughts of this ballet. The story was complex, yes, but Fredo’s synopsis was invaluable – and so much more helpful than the one on the ROH cast sheet! The dancing was astonishing, the staging splendid, and the orchestra magnificent. I would watch this ballet any day of the week and twice on matinee days. Thank you, Fredo, for your hard work in organising this trip.
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Mayerling
Thanks Fredo and Mike for the wonderful seats at the ROH and for the synopsis which greatly helped to unravel Rudolf’s many relationships as they appeared on stage. The dancing was superb, the music beautiful and although a very long ballet, the whole performance kept you mesmerised from beginning to end. I loved it.
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Mayerling was an unforgettable experience at the Royal Opera House !
I had read Fredo`s very helpful pre show information but every aspect of Mayerling exceeded my expectations!
From the Overture with a wonderful orchestra to the more sombre final scene I was enthralled – impressive scene changing and lighting, colourful costumes ( ? how did the girls dance with such agility wearing elaborate dresses etc ) and the surprising piano and solo singing on stage
It was however the performances of the male dancers which enthralled — athleticism, precision, energy and a wide range of emotions – some troubling, some amusing which contributed to a wonderful experience for me. Thank you Fredo and Mike
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Mayerling
Thank you Fredo and Mike for an unforgettable trip to see Mayerling!
Romeo and Juliet with epaulettes, we loved the choreography of this classic ballet performed in such a deliciously dark and captivating way.
Packed with political intrigue, intense pas de deux and a sense of foreboding that rippled throughout the performance, one that was expertly heightened by the brooding score by Liszt.
Stylistically, the glamour and artifice of the imperial pageantry contrasted superbly with the outrageous tavern scenes and the inner turmoil of the tortured Prince, culminating in the tragic murder-suicide of the two lovers.
Calvin Richardson in his debut role as the Crown Prince was also a highlight and will surely be one to watch!
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MAYERLING
We loved the production; a fabulous full orchestra playing beautiful music and a large company in exquisite costume. The ballroom scene was mesmerising from our vantage point [great seats]. It seemed to us that some of the lifts and holds were quite different from shapes in other ballets,
they certainly had their work cut out but the result seemed faultless and spellbinding. As ever, thank you to Mike and Fredo.
Richard & Lynn
PS I think it’s a pedal harp or concert harp.
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Mayerling
I’m not a regular at the ballet but the opportunity to see Steven MacRae dancing in the male dancer’s equivalent of Hamlet was too good to miss. Sadly, MacRae was injured so Calvin Richardson stepped in. I don’t know enough about the technicalities of ballet dancing to judge Richardson’s performance on those grounds but I thought he, along with his many female partners (as other have said, Sarah Lamb’s performance was heartbreaking), conveyed the emotional turmoil and, let’s be honest, lust experienced by Prince Rudolf so very well. The ballet was long and the story was complicated (thank you so much Fredo for the helpful synopsis) but the emotional intensity didn’t falter and carried us through to the inevitable tragic ending almost without daring to take a breath. The sumptuous staging, costumes and orchestration were of the first class calibre one would expect of the Royal Ballet.
My only quibble with the production was the splendidly monogrammed curtains; should the King visit the Opera House at some point will he be just a little disappointed to see that the royal motif has not been updated for Charles III? Or will he, as we did yesterday, appreciate the traditions which the Royal Ballet obviously holds so dear. A splendid afternoon and a fantastic start to the Easter weekend.
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Mayerling,
Think the instrument was possibly a lute or perhaps a dulcimer…?
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Mayerling
Thank you so much Fredo and Mike for this return to the Opera House and putting up with the difficulties they caused you, we appreciate it very much much
We had never seen Mayerling before and it did turn out to be as dark as expected. The story of an entitled son of royalty using his position to abuse women and it all ended badly! A long ballet but so much to take in. Calvin gave a creditable performance but Sarah Lamb was just exceptional, surely the human body should not be able to do those things!
Like some others, we did find it hard to identify several of the characters and having no printed cast list made it difficult to do so. The opera house are ‘reducing their carbon footprint’ but we do miss the cast list being handed out.
We always like a view of the orchestra too and they gave their usual impressive performance. The arrangement of Liszt’s score was very subtle, fitting and dark too. We were intrigued by the large pear shaped stringed instrument that took the harp part. Any advice on its name would be very welcome.
We are not sure if we would want to see this again for the plot but we thoroughly enjoyed this performance and the beautiful dancing, choreography, costumes and music and, of course, the day in Covent Garden.
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Mayerling
Only one word needed fab u lus ! We’d seen it before but can’t remember enjoying it quite so much, a beautiful production in every way albeit a tragedy. Music was sublime and the dancing was mesmerising. Thanks again Fredo and Mike, lovely to catch up with you both x
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Mayerling,
Excellent music,especially the beginning at the burial.
Thought the Crown Prince was first class especially considering it was his first outing in that role.Sarah Lamb brilliant as always,ethereal…
Good seats too…
Many thanks Fredo n Mike
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Broken Glass.
Totally agree with the ending Mike and all that you have said.
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BROKEN GLASS
At the top of the list of Current Concerns in this troubled year of 2026 are two important subjects – Antisemitism and Mental Health Issues. And here is a play about both. It is set in 1938, was written by Arthur Miller in 1994 and is now revived looking not a moment out of date. The times of course have changed but the problems remain. The play takes a symbolic moment of history, Kristallnacht in Germany, when Jews were being persecuted by the Nazis and the news was spreading around the world. But this is not the play’s subject. That focuses on the troubled marriage of Philip and Sylvia Gellberg. Philip hates himself for being a Jew, has changed his surname from Goldberg, wishes to focus on his work on mortgage foreclosures, and disassociates himself from the Jewish situation. It should be remembered that members of many persecuted minorities wish they were not who they are. Philip’s wife Sylvia, loved yet bullied, and ignored in the marriage bed, is unhappy and further disturbed by the news headlines from Germany. She finds herself paralysed, unable to walk. Doctor Harry Hyman is on hand to try to understand and resolve the issue.
Audiences may respond differently to the play and the problem it explores – believe or disbelieve in the situation. Some factual details we have to accept – the historical situation and the view from America at that time as reported in the News – but the psychology is not so easy to understand. Remember that doctor Harry categorically rules out any physical reason for Sylvia’s paralysis so, consciously or subconsciously, the trouble must be in her head. We observe Philip and recoil – an incredible intense and short-fuse performance from Eli Gelb of aggression used as a defensive reaction . We can see why Sylvia, Pearl Chanda portraying the wife’s warmth and fragility, is emotionally disturbed with a need to protect herself from her husband and the world news – both are inseparable in her mind as Jewish problems. Her immobility is her barrier of self-defence.
Central to the play is Doctor Harry Hyman, the middle-man between Philip and Sylvia who is friends with the couple. He admits he’s “not a psychologist” but neither are we so he is in a good position to investigate the situation for us, and of course for his ‘patients’. Alex Waldmann plays him with an amiable persistence, and we can easily understand any trespass across the doctor/patient border.
The production is simple and direct, casting the audience as close observers of every forensic detail in this fracturing marriage, in this battle of opposing Jewish responses to a troubling world situation. The threats in Germany are viewed as personal back home in Brooklyn. The other players manoeuvre the plot’s jigsaw pieces to gradually complete the full picture. It’s an emotional and tense two-hour progress which never falters.
There has to be a solution to the play’s somewhat complex and some would say psychologically dubious set-up. For me the chosen resolution brings the play to a sudden and satisfying solution. Others may disagree. Given Miller’s premise and the entangled Jewish opinions he presents us with, Sylvia’s ‘cure’ when it comes is theatrically inevitable. That’s great writing. And all involved here create a knock-out experience. Shattering, some might say.
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Broken Glass
A spiral of emotions ,such an intense play with tremendous acting Impossible not to remain absorbed.
I agree with Monica those who didn’t go missed a treat.
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