Manon

Manon is a fascinating anti-heroine, an alluring schemer with an eye for diamonds, desperate to escape poverty in eighteenth century France, and fickle to her great love as she’s pimped by her brother to arrogant aristocrats.  Not your usual heroine of classical ballet!  She ends up back in rags in a Louisiana swamp. 

Employing Jules Massenet’s dramatic score, Manon the ballet was a shocker even at its premiere by the Royal Ballet in 1974, even after a decade of cultural and sexual change.  It’s the creation of Scottish choreographer Sir Kenneth MacMillan, who too was born into poverty and escaped to London at the age of 15 to train with the dance company he eventually led.  

No fan of pretty dance, MacMillan’s ballet powerfully contrasts images of desperate poverty with the brutal dismissal of the filthy rich, embodied in the beggarly and sumptuous costumes of Peter Farmer.  His towering period design of Paris settings is dark and formidable – and perhaps in need of a dust.

This Australian production is 30 years old, and it shows in the first Act when in a Parisian courtyard everyone gathers around to watch the traditional ballet showpieces, as single dancers or couples and groups of rich and destitute take their turn.  But MacMillan’s essential classical choreography soon surprises us with its gritty verve, inventiveness and vivid characters.

Manon arrives by coach, on her way to life in a convent, but already the focus of lascivious attention.   Wide-eyed at first, Benedicte Benet plays brilliantly Manon’s many contradictions and yet keeps us empathic through her dalliances, dancing with a fine fluid agility.  Joseph Caley is strong and technically impressive as the well-born student Des Grieux who loves her at first sight: by the end Caley matches Benet with a fully emotional performance. Their rapport is exquisite when he slides her across the floor, both entwined, or lifts her high and then around his body.   

Brett Chynoweth, always a quicksilver delight, is perfect as Manon’s wicked brother, and hilarious when dancing and stumbling as a drunkard with his mistress (a bright and boisterous Jill Ogai). Former principal Adam Bull is back, suitably tall and commanding as the wealthy Monsieur G.M., rewarding Manon for her tricks by dangling her more jewels.

The drama moves fast, artfully matched to Massenet’s constant musical shifts, through lovemaking, conspiracy, murder and imprisonment and exile, and – in an endless misogynist

 trope, especially in ballet – poor Manon must pay for the crimes of her noble student lover.  In one outstanding moment with her legs high and akimbo, she’s passed around over the heads of her lustful admirers.  Later she’s forced to give fellatio to her gaoler (Jarryd Madden).

Credit goes to those dozen dancers as soldiers, courtesans, beggars and aristocrats for performances which are true and not overly played as pantomime.  The busy upmarket brothel scene was well choreographed in all ways, governed by the indefatigable Madame X (Gillian Revie).  With all dancing with authenticity and real emotion, the impact of this still striking, oddly current production is truly heightened. 

Review by Martin Portus

Photographer: Daniel Boud