Audiences will be swept away from the emotional charge of ballet’s most sensual and romantic tale of doomed love. The Australian Ballet’s Manon sits comfortably within Jules Massenet’s grand score with compelling characters dancing through personal challenges that are further heightened by this lush production.
Choreographed by Sir Kenneth MacMillan in 1974, the ballet Manon was inspired by a novel written by French author Abbé Prévost in 1731. At times the narrative feels dated and much of the storyline is not for the faint hearted. There are violent scenes of death and unrequited advances with misogynistic undertones. Aside from the gothic storyline, Manon is a beautiful historical ballet with a majestic score, ornate costumes and stunning set design. MacMillan’s choreography is at its best with intertwining duets filled with moves that elevate the characters from their lowly positions in life. What this ballet lacks in modern sensibilities it makes up for in authentic emotion and rich visuals.
Sir Kenneth MacMillan is a world famous British choreographer who passed away in 1992. His renowned production of Romeo and Juliet, which he set on The Royal Ballet in 1965, is often thought of as the quintessential version. MacMillan’s talent lies in his acute expressiveness in romantic duets with a classical thread woven into intricate partnering that flows like a spiral. He choreographed Manon nearly 10 years after Romeo and Juliet and it is interesting to see how his signature style is consolidated: romantic classicism combined with modern gestures and unexpected musicality while exploring darker themes of the human psyche.
Manon begins place in 18th century France at a party visited by wealthy men and courtesans. Manon and her brother look to advance their social standing by pairing up with a wealthy gentleman. Their plans are compromised after Manon falls in love with a student known as des Grieux and they run off together. After a series of misadventures, the story eventually ends in the swamps of Louisiana where the ill-fated lovers meet their destiny. The title character is manipulated by the men throughout her life, which is reflective of the times. It is only after Manon falls in love with des Grieux that she goes off-script. Eventually Manon is demoralized by her own designs after she chooses money over love.
Principal Artist Robyn Hendricks is well worth seeing in this production. Many famous ballerinas have danced the lead role, from Lynn Seymour to Sylvie Guillem, and Hendricks’ interpretation is distinct and top-tier. She displays raw vulnerability one minute and alluring control the next. She floats in her lifts with partner Callum Linnane, who supports her effortlessly. Their chemistry is visceral. Hendricks further illuminates with her expressive arms moving like never-ending skeins of silk. She dances through every nuanced emotion with fluidity, evoking a little girl image that quickly dissolves into a greedy harlot. Her acting is honest and believable while executing intricate steps and partnering with Linnane.
The dancing in Manon is rich in texture and execution. Aside from Hendricks and Linnane’s exquisite coupling, soloist Maxim Zenin is prominently featured in the role of Manon’s brother Lescaut. Zenin is a technical master who also displays depth of character. His body lines and virtuoso technique are stunning to watch. His humorous “drunken duet” with soloist Isobelle Dashwood in Act 2 is executed with pitch-perfect comedic timing and serves as a much-needed reprieve from the sombre themes in the ballet. Retired Australian Ballet dancer Adam Bull returns to the stage as a guest artist in the role of wealthy scoundrel Monsieur G.M. with much swagger and charisma. The corps de ballet is well featured in the few scenes they dance, showing great skill in the classical vocabulary and unison. Set and costume designer Peter Farmer shines with the pastel coloured pallet worn in the latter half of the ballet, which contrasts beautifully against the prominently dark set. Heavier black laced dresses and costumes are elaborate but not as easily seen in the dim background.
Manon is dramatic with tragic characters dancing to a vibrant score. Probably, the most poignant scene in the ballet is the last duet Hendricks and Linnane dance in Act 3. Manon loses everything that is important in her life – her very moral fibre. Not even the love of des Grieux can save her. Hendricks moves with great abandon in a rag-doll dance that tears at your heart. Eternally committed, Linnane is left heartbroken with palpable emotional exhaustion as des Grieux. The moment is intensified by the music gorgeously executed by Orchestra Victoria and conducted by Charles Barker. The curtain lowers on the woeful scene leaving the audience moved with compassion.
Manon runs in Melbourne 11-22 October at the Regent Theatre
Photo credit: Daniel Boud
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Paris Wages reviewed “Manon”, presented by The Australian Ballet at the Regent Theatre, Melbourne, on October 10, 2025.
