We're seriously going to have to agree to disagree on Bolle, ditto Bussell, especially on their dramatic abilities.
If with "we" you intend you and me, I don't see where we disagree, a part the cleanliness of his basic technique (excluded troubled double assemble en tournant and cabriole with bended knees - probably not basic enough). To me to be clean doesn't mean to be interesting or worth to watch: we are talking of a ballet dancer, not of a lavatory.
As I wrote, he has a huge fan club in Italy, but it includes the kind of people that consider a great success to hear clapping during the entrechat series in Giselle or during the final manege of L'Arlesienne (when I saw it in Parma, people was clapping as in DQ coda, but in that moment Frederi is devastated and going to kill himself jumping through an open window, a very silly behavior by the audience, but honestly, having not seen the ballet before, it would have been hard to understand what was going on with Bolle as the main character).
I agree that he can be "the equivalent of having teeth pulled", but during a very strong and deep general anesthesia.
Maybe the ability to change dramatic moments in comic has been intended as a compliment, but I don't understand how: I remember Leacault death in a Bussell-Bolle Manon as a truly hilarious moment and absolutely unforgettable. But that doesn't mean that I consider the 8 pounds I spent for that show a good investment.
I've always had the impression that Ferri was using him as a pole for pole dancing, looking through him more than at him.
Leigh, I'm afraid that Simon and I described (or have in mind) exactly the same dancer. I just think that he, when in good physical form, can do a good triple pirouette (or three single pirouettes in suivi, at your choice): wow!