A few forum members managed to see RRTM this afternoon before it closes next week. If you get the chance to see it before it closes, please do, it is really wonderful.

JJ was very kind and friendly again, patiently signing autographs at the stage door after the play, especially for those fans who had bought tickets for May but who wont now get to see it. He also kindly allowed us to take lots of photos which are being uploaded to the galleries now.

He told us that he will be going on a (well deserved) skiing holiday next but no further projects have been confirmed as yet.

Adding another few of the recent reviews of RRTM. From Quentin Letts of the Daily Mail there is a 4 star review;

"Mr Feild – in looks reminiscent of the young Anthony Andrews – is a great find...I found Ring Round The Moon one of the most refreshing and stimulating evenings in the theatre for many long week."  read more »

The Church Times wrote a good review and enjoyed it overall;

"As both the lovelorn, gentle Frederic, of whom we see relatively little, and the demonic, would-be puppet-master Hugo, J. J. Feild faces a real challenge. The latter character revels in the complexity of the dance and the ease with which he presumes he will control the dancers. Feild plays some of this self-delighted plotting very well, with energy and charisma, but gabbles away a lot, too."  read more »

Matt Wolf who wrote this review for the International Herlad Tribune, described JJ in that one; "the newcomer JJ Feild has the physical dash if not quite the voice for
a daunting double task that needs to look lighter than air". He wrote another review for Theatre News Online where he also reported on JJ's performance and mentions the slide...

"Inheriting Paul Scofield's original role as twin brothers - one nasty (Hugo), the other nice (Frederic) - newcomer JJ Feild is at his best in an eleventh-hour rant from a brusquely impassioned Hugo perched atop a chair, just as Leigh Lawson, in an especially well-accented turn, does well by the mixture of self-loathing and seigneurial disdain that marks out his performance as the play's resident Jew: a peculiarly written part by contemporary standards that casts the moneyman Messerschmann as billionaire at notable odds with the wealth he has accrued in this lamentable world. Feild, for his part, sounds from some gathering hoarseness as if he is going to have to guard his voice, though audiences may prefer just to look and point out his similarities not only to Jude Law but, less obviously,to a young Alec Guinness. As far as differentiating the two men, he achieves that by clever uses of the assured glide with which he slides on to the stage as Hugo, by contrast with the wimpy, winsome Frederic."