Review: MANON, Royal Ballet & Opera

It's impressive to have the same work showing at two companies simultaneously, and such is the case for Kenneth MacMillan’s 1974 full-evening work Manon. The ballet is currently in season at the Paris Opera and also opened last night at the Royal Ballet and Opera. Leading the cast are Francesca Hayward and Marcelino Sambé as the doomed lovers Manon and Des Grieux.

The evening as a whole is a lavish experience. One always thinks you know a ballet - and then you see it again and are reminded of how much there is to savour. Acts 1 and 2 are jam-packed with character-rich dancing, Act 3 less so and this begs the possible question of an edit into a two act ballet? Who knows.

The work follows Prévost's novel where we witness Manon Lescaut's journey from big town newbie to the ultimate demise in the swamp lands of New Orleans.

MacMillan has created a play without words and the cast all do this concept justice. Hayward is innocence and seduction personified, Sambé young love and despair. A very strong supporting cast includes Joseph Sissons as Manon's brother Lescaut, executing brilliant dancing, and Anna Rose O'Sullivan as his Mistress. O'Sullivan hits every nail, but I reckon her Mistress still needs a bit more mischief.

Equally superb is Bennet Gartside as Monsieur GM. GM is the money in the fable, and Gartside displays this component like a carnivore, with flesh as the commodity. Even though we know the story, it's still difficult to watch Manon being passed around like property. Truly.

As the performance develops so do interpretations. Both Hayward and Sambé are spectacular in Act 2. Hayward showing Manon's duplicity and Sambé taking MacMillan’s solos and turning them into emotionally physical monologues.

Ballet as an artform is a work in progress, so there's always something to work on - thankfully. At times Sambé needs to keep channeling his expression, and Hayward finding tighter execution. Both are at the top of their game, but even more reason to keep exploring as to what is possible I say. It will pay off.

The current staging feels more potent than two years ago. Each group scene is layered with stories within stories, and this can be felt at the back of the stalls. Two ladies behind me were experiencing Manon for the first time, and their second interval conversation got me giggling. “Go for the money Manon…what with the cost of living!” - proving that a 1753 novel and 1974 ballet are still topical talking points. MacMillan’s tragic portrait feels as relevant as ever.

Manon plays at Royal Ballet & Opera until 25 November

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