Lucinda Dunn and Adam Bull in Manon. Image supplied by the Australia Ballet.
This production of Sir Kenneth MacMillan’s Manon (1974) was touted by the Australian Ballet as a ‘sweeping vision of decadent 18th century Paris, richly costumed and lusciously orchestrated … a ravishing feast for the senses’. It was all of these and more – because, if this was a story-ballet, the dancers were consummate storytellers.
I was privileged to test all of these claims by having as my guest my 12-year-old niece, there to experience her first full professional ballet production. I would recommend to all reviewers that they have such excited and attentive company as it tests both one’s preconceptions and assessment of the true success of the work.
It speaks for itself that, nearly a week later, Genevieve is still talking about Manon: the dancing, the costumes, the music, the whole experience. A few quick asides were all that were needed to fill her in to the (rather racy) plot, although we did read the full synopsis before Act Three which took place in the American colonies and tied up loose ends with alarming speed.
We were fortunate to see Lucinda Dunn in the title role, partnered by Adam Bull as Des Grieux, the student who was the innocent girl’s first and only true love. There are contradictions in the character of Manon, particularly her swift surrender to seduction by the wealthy Monsieur GM (Steven Heathcote as a convincing villain).
Costumes were not only impressive, they clearly illustrated the relative wealth of the suitors: the student’s poverty and the riches Manon chose to accept from her aristocratic suitor. Energetic dancing by the corps (and particularly soloists Andrew Killian as Manon’s duplicitous brother, Lescaut, and the Mistress, Lana Jones) lent ‘l’hotel particulier’ a frivolous air, although occasional fleeting vignettes suggested the truth was otherwise. The cart loaded with ‘fallen women’ that passed Manon’s coach in the first Act had been a dire warning of her fate.
Dunn’s strong yet graceful portrayal of Manon made her a heroine to care about and lent a consistency to her character that might have been missing in the script. Bull’s height and athleticism enhanced his role as the hero of the piece, his being a love-struck student simply adding to the charm. Both are rightly Principal Artists of the company, and it was their pair work as much as solos that showed why. Bull had no difficulty with the many lifts, but executed them with exceptional care; Dunn for her part seemed entirely trusting of her partner, so that she seemed to fall very lightly into his arms. Technical details perhaps, but the partnership added to the allure of their story.
Act Three (in the penal colony) seemed the least successful of this production, perhaps because of the speed of events and some oddities. Would the well-dressed gentry at the port have been so solicitous of the ragged and no doubt smelly convicts that came off the boat? Was there no one about to arrest des Grieux when he killed the gaoler? Never mind, our hero was able to see off Manon’s latest admirer, and she died a romantic death in her his arms, the dramatic moment only slightly lost in the cluttered scenery of the swamp.
Soon after, Lucinda Dunn appeared to receive the shouts, applause and flowers that were her due, especially in this, her final season with the Australian Ballet. This was an ensemble piece, however, and all dancers – and the superb Orchestra Victoria under the baton of Nicolette Fraillon, making the most of Massenet’s romantic score – deservedly shared in the enthusiasm for this production of Manon.
For my niece Genevieve, it was simply an experience she’ll remember for life.
Rating: 5 out of 5 stars
Manon
Choreography: Sir Kenneth MacMillan
Guest Repetiteurs: Patricia Ruanne & Mark Kay
Music: Jules Massenet
Arranged and orchestrated by Martin Yates
Costume and set design: Peter Farmer
Original lighting design: William Akers
Reproduced by Francis Croese
Conductor: Nicolette Fraillon
Manon: Lucinda Dunn
des Grieux: Adam Bull
Monsieur GM:
Madame X: Julie da Costa
Melbourne: with Orchestra Victoria
Sydney: with Australian Opera and Ballet Orchestra
Arts Centre, St Kilda Road
www.artscentremelbourne.com.au
14 – 24 March
Sydney Opera House, Bennelong Point
www.sydneyoperahouse.com
3 – 23 April
