The Australian Ballet: Manon
Sydney Opera House, 30 April 2025
Rating: Four Stars
Sir Kenneth MacMillan’s Manon remains one of the great dramatic masterpieces of 20th-century ballet. On opening night of The Australian Ballet’s 2025 season at the Sydney Opera House, his choreography shimmered with vitality and purpose, reminding audiences of the enduring power of his work and the importance of preserving his legacy within the company’s repertoire.
As the first major classical production of the year, Manon is an ambitious and fitting choice. It’s heartening to see Australia’s national ballet company approach this complex and emotionally charged work with such vigour and nuance.
Rooted in Abbé Prévost’s 18th-century novel, Manon explores themes of love, power, wealth and betrayal. MacMillan’s adaptation transforms the literary into the visceral, making it one of the crown jewels in The Australian Ballet’s repertoire—a status it has held for decades. With lavish set and costume designs by Peter Farmer, and the sweepingly romantic music brought to life under the baton of conductor Jonathon Lo, the production created a rich, immersive world.
On opening night, principal artist Benedicte Bemet brought the titular character to life with style and innocence. Her Manon was never a pastiche of previous portrayals, but rather a layered, living presence—naive and playful in Act I, increasingly assertive and aware of her agency by Act II. By the final act, Bemet’s performance became haunting in its portrayal of Manon’s descent, culminating in a tragic, sobering finale. This is a role that demands not just technical precision, but also emotional intelligence, and Bemet delivered this with assurance.
Opposite her, Joseph Caley was a noble and gentle Des Grieux. His performance of the adagio solo in Act 1, originally created for Royal Ballet star Anthony Dowell, was sensitively danced, with strong lines and a quiet intensity. The technical demands of the role are considerable, but Caley met them with elegance and poise.
Brett Chynoweth offered a confident, charismatic turn as Manon’s brother Lescaut, while Jill Ogai, as his mistress, was cheeky, commanding, and perfectly attuned to the power she wields. Ogai’s steely charm and articulate footwork added intrigue to a role that can easily become secondary; here, she was a force of her own. Her chemistry with Chynoweth during the comic “drunk” solo and pas de deux was a highlight, eliciting genuine laughs and murmurs of delight from the audience.
Cameron Holmes as the Chief Beggar brought sharpness and strength to his scenes, while Rina Nemoto, as a lead courtesan, stood out for her elegant port de bras and refined stage presence. Gillian Revie’s Madame X was warm and watchful, grounding the brothel scenes with maternal gravitas, and Adam Bull’s Monsieur GM was suitably pragmatic and predatory, his sensuality underscoring the ballet’s dark power dynamics.
The second act offered dramatic and technical highlights, particularly Ogai’s solo, which sparkled with crisp pointe work and flair. The ensemble of three gentlemen dancers brought lightness and clarity, though with further performances their timing and cohesion will likely strengthen.
The final act was emotionally charged. Jarryd Madden’s “Gaoler” was menacing and cruel, casting a heavy pall over Manon’s final downfall. This scene is hard to watch. The harrowing swamp scene—where Manon relives her past and meets her end—was sensitively rendered. Bemet and Caley held the stage with aching intensity, their partnership deeply affecting until the last, heart-wrenching moment.
While there were minor missteps on opening night, they were far overshadowed by the emotional resonance and technical accomplishment of the performance. Manon is a gift to dancers and audiences alike—demanding, enriching, and ever-relevant.
The corp de ballet ladies showed a lot of beautiful quality in their port de bras.
“Manon” offers The Australian Ballet a chance to stretch itself both technically and artistically, and this large cast seized that opportunity with impressive conviction. The acting and side stories added significant energy to the night.
This production deserves full houses and bigger stages. It is a compelling reminder of why the classics matter and why we must ensure their survival for generations to come.
-Daniel Gaudiello