Manon is my absolute favourite ballet; to me this is a perfect meld of plot,
choreography and music - Macmillan at his absolute best.
It tells the story of young girl Manon Lescaut, who journeys over the
course of the three acts from being on the point of entering a convent, through
falling in love and eloping with the young student Des Grieux, then being
tempted and manipulated into leaving him for the wealth and splendour offered
by rich Parisian Monsieur G.M, and then once again returning to Des Grieux and
consequently being deported accused of being a prostitute. No mean feat for the
ballerina dancing Manon to traverse, but providing a rich plot – love,
drama, sex, violence and despair – for the audience to get their teeth into.
The plight of Manon in Parisian society, partly her own ondoing, partly the
gross exploitation of women in general, can leave few unmoved.
However, the reason that this is such a firm favourite for
me and for many others is the love story, between Manon and Des Grieux. The
various pas de deux between Manon and Des Grieux are, when danced well, utterly
exhilarating. You should be on the edge of your seat, feeling every heart beat,
every leap, every turn as though you are on stage dancing with them. Macmillan cleverly
establishes the choreographic staples of the whole ballet in the first two pas
de deuxs – just after they have met and then back at Des Grieux’s lodgings. In
subsequent dances between Manon and Monsieur G.M, Lescaut (Manon’s brother) and
his mistress, we see echoes of the steps set up in the first love dances of
Manon and Des Grieux. This works two ways – firstly to suggest that there are
elements of the relationship between Manon and Des Grieux in the relationships
of the other characters (and vice versa), but also to remind you of those first
pas de deux, of the eagerness and exhilaration of Manon and Des Grieux in their
newfound love. Hence as we see Manon hurling herself into what can only be a downward
spiral, we are ever reminded of what she has left behind, and to what we know
she will ultimately return, leading to her downfall. The references back to
those initial dances are never stronger than in the climactic final dance, in
the Louisiana Swamp – similar steps danced more desperately, more exhilaratingly,
the music similarly ramped up for this spectacular heartrending finale. I
remember the very first time I saw Manon, when the curtain went down, I was
almost as devastated that they had stopped dancing as I was at the story!
I could go on for hours about the wonders of those pas de
deux, but really anyone who hasn’t seen it, should. The RB are doing an
extended run of Manon, through into the autumn, so there are plenty of
opportunities! The rest of the ballet balances out the intensity of those pas
de deux with comedy (a particular highlight being the ‘drunk’ pas de deux between
Lescaut and his Mistress in Act II), large group numbers, and a wonderful
attention to detail in the depth of the staging.
As for the performances this time round – on the 23rd
Federico Bonelli won my heart as Des Grieux, his solos utterly beautiful – with
well controlled extensions and lovely lines, he conveyed a romantic sincerity
in his initial wooing of Manon and a heartbreaking sadness in his Act II solo.
Laura Morera was giving it all and the
kitchen sink as his Manon, in the final dance literally throwing herself almost
to the floor before Bonelli could catch her at one point. A wonderful
performance from this pair. Equally impressive were Tamara Rojo and Carlos
Acostas, in the pas de deux anyway, if not in Acostas's solos. When Rojo is on
stage you simply cannot take your eyes off her. Utterly stunning, and this duo
seemed slightly more comfortable with the choreography than Bonelli and Morera,
which gave them space to develop the roles yet further. The first performance by
Acostas that I have rated so highly since his La Fille Mal Gardee with Marianela
Nunez. Sadly Nunez was not up to her usual standards as Manon (04/05) partnered
by Nehemiah Kish, but as (I think) they are both relatively new to this role
and to dancing with other, I'm hoping they may warm up to it.
That’s enough raving from me. This is an utter feast of a
ballet. I don’t think I will ever tire of watching it!
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