Lyric Theatre, QPAC
Reviewed September 28
Securing the performance rights to Sir Kenneth MacMillan’s iconic ballet, Manon, was a major coup for Queensland Ballet (QB). Currently performed by only a handful of the world’s larger companies, Manon, one of the big story ballets, is both a sumptuous feast for the senses and a compelling tragedy, demanding not only technical but also dramatic authority from the dancers.
With a scenario based on L’Abbé Prévost’s 1731 novel, this gorgeous looking but dramatically gritty ballet travels from the decadence of pre-revolutionary 18th century France to the swampy convict settlements of Louisiana, telling a tragic tale of love, lust, greed and betrayal.
The leads in Manon are thus among the most coveted of roles, with passionate pas de deux and complex character development that dancers can sink their teeth into. Opening this season, in one of four casts, senior soloists Mia Heathcote and Patricio Revé danced Manon and Des Grieux respectively. (Both dancers were promoted to Principal Artist at the end of their performance – see Moves.)
There have been several interpretations of the young Manon, who, on her way to join a convent, becomes infatuated with the student Des Grieux, but soon forsakes him for the wealth of the powerful, lascivious Monsieur GM.
Heathcote plays her as the young innocent: mercurial, impulsive but ultimately seduced by the trappings of wealth, convincingly propelling a storyline which might otherwise risk disbelief. Manon’s transition from love to material lust is described in a steamy, sensuous pas de trois with her brother (and pimp) Lescaut (Alexander Idaszak) and Monsieur GM (Vito Bernasconi). Taking cues from her brother, her lust for the riches on offer cements her betrayal of Des Grieux.
Revé, who has a beautifully sculpted line and generous ballon, embodied the forsaken Des Grieux. His opening act adagio solo of sustained turns into beseeching arabesques – a languid but passionate declaration of love – made the moment Manon fell for him, and their subsequent pas de deux, believable, successfully setting up the following drama.
The luscious Peter Farmer-designed sets and costumes (on hire from the Australian Ballet), beautifully lit by Jacopo Pantani, capture the cruel 18th century juxtaposition of the very poor and obscenely wealthy. The Act 2 bordello scene is visually particularly magnificent, and here Heathcote finally convinced us of Manon’s delicious allure in a sensuous solo of swaying hips and come hither eyes. Later, callously manoeuvred from suitor to suitor in a lush sequence of supported lifts that is one of the choreographic highlights of the ballet, she exuded the brittle sensuality of the morally corrupt.
Idazak gave a convincing performance as Lescaut, part schemer, part larrikin. His "drunken" solo and duet with Yanela Piñera, as his courtesan mistress, showed a mastery of comic restraint and needle sharp timing from them both. Piñera made the most of a thinly drawn character, giving an immaculate performance, with solos that dazzled.
Bernasconi perfectly embodied the charismatic but arrogant ruthlessness of Monsieur GM, while as Madame, Mary Li (in a rare return to the stage) commanded the space and her coterie of courtesans with sweeping style. Artistic Director Li Cunxin is also making a return to the stage, later in the season, as Monsieur GM.
The Queensland Symphony Orchestra, conducted by Musical Director Nigel Gaynor, was an equal partner in this performance, delivering a sensitive and finely nuanced interpretation of the Jules Massenet score – a miscellany from his prolific oeuvre that soars in synchrony with MacMillan’s luscious movement while sweeping you up in the drama
It was MacMillan’s habit, when choreographing any new work, to start with the pas de deux, and so not surprisingly the duets between Manon and Des Grieux are a central part of this ballet. In this performance the best was left until last.
As life flashed past the doomed Manon and Des Grieux, lost in the swamps of Louisiana, their final pas de deux became one of raw anguish. Heathcote and Revé fearlessly pushed the lifts and last second catches to breath-taking extremes, giving Manon’s death a convincing sense of heartbreaking desperation.
It was a triumphant end to a performance where the whole company was fully invested, delivering both technical and dramatic assuredness. The 12-performance season should allow further settling into the ballet
This is not one for the kiddies – no princesses or fairies here – so book the babysitter and treat yourself to a performance of Manon before the season closes. You won’t be disappointed!
– DENISE RICHARDSON