TS from the forum found one last review at Leighton Buzzard Online and it was very complimentary about JJ.

The only problem is – who is prince charming? Hugo, the epitome of upper class arrogance, is a cold, manipulative, and emotionally barren young man, who is blessed with the looks of a young Jude Law ( circa The Talented Mr Ripley) while his brother is a born romantic, kind and decent but a bit of a wet rag. . . .

West End newcomer JJ Feild carries the burden of most of the scenes as he dashes off stage right and left as the twins. He'll be considerably fitter and probably a stone lighter by the time the run ends as he darts about changing character in mid-sprint, even coming on twice to accept the well-earned applause of the audience. Feild is very charismatic and charming and perfect as the cad, Hugo, a man from old money with the manners of the nouveau riche.

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."

What's On Stage has posted a review round up so far of RRTM. Thanks also to TS & Imajrim from the forum who also hunted out some more reviews.  read more »

Benedict Nightingale from The Times gave the play 3 stars and described the play's odd, diverting mix of cynicism and fairytale fun. He mentioned of JJ's performance;

"The play concerns two handsome twins: warm, kindly and ineffectual Frederic; Hugo, who is the very opposite. J.J. Feild, who plays both here, looks the role or roles but doesn't differentiate enough between them. However, he leaves you in no doubt that Hugo is callous, manipulative - and pretty disingenuous when he claims that the reason he has invited an impoverished beauty called Isabelle to a posh family ball is to distract his brother, who is engaged to a spoilt rich girl who dislikes him."

The Independent's Paul Taylor gave the play three stars overall but did highlight JJ's performance;

"In a striking West End debut, the fetching JJ Feild adroitly differentiates the sensitive, melancholy Frederic and the fascinatingly heartless Hugo. Driven to a frenzy of superiority, the latter imagines he has seen through the pretences of his guests, but the play sees much further than he does."