The Royal Ballet: Manon, London, March-May 2018

[Fiz]

Actually, the way Hirano danced it, you could see his mistress becoming more and more frustrated and annoyed which is rather true to life since in my experience, drunken people can be rather tedious to say the least.

[capybara]

I'm sure that, in an Insight Day long, long ago, Monica Mason said that the Lescaut/Mistress pdd was not choreographed as a comic piece and should not be played for laughs.

It doesn't bother me if it is - I'll smile and enjoy it along with everyone else - but there have been instances in this run when the comedy has been so overt as to make the movement look unnatural.

 

 

[Sim]

When I interviewed the creator of Lescaut, David Wall, back in 2005, this is what he had to say about the character and the 'drunk' pdd:

 

MacMillan created the complex character of Lescaut on Wall in1974 in the ballet Manon. How easy was it for him to portray a character who begins as a pimping libertine, becomes a comic drunk, and ends up the caring brother who decides the right thing to do is help his sister follow her heart and loses his life as a result? "Well, he was depraved, to say the least. We diverted a bit from the book, but not much. The drunk scene was created straight in the first instance. Then it was Dame Ninette who suggested doing something comic since there wasn't much comedy in the ballet" he laughs. "Do you know, it took a lot longer to re-choreograph it inebriated than it did as a straight piece!" He loved dancing Lescaut: "he is very manipulative." I mention the discussion that has been taking place on Ballet.co regarding the very beginning of the ballet, and asked him to clarify it for readers, who had been wondering why the ballet begins with Lescaut sitting on his own, centre stage, with his cape wrapped around him. "We tried many openings to this ballet. One of Kenneth's ideas was to have a parachute silk with slits in it flutter down, then have a character appear, then the silk would move, then another character would appear… but we just couldn't make it work. We tried several other things, but then Kenneth finally had the idea of Lescaut just sitting there in an almost drugged state; it could have all been a dream of his. But it was really just to emphasise that he is central to the piece. It is a very difficult opening for a dancer because you can't even move your eyeballs, which is very hard when beggars are moving all around you, and the lights come up!"  It would be interesting to know who he thinks is or has been a particularly good Lescaut since he set such a high standard. "Well, I haven't seen that many performances at the Royal….I don't go to the ballet much! Certainly Stephen Jefferies was a wonderful Lescaut. It's a very difficult role because you really have to be a dance actor to bring it off. I've seen a few slight performances over the years. Although everything is said in the choreography, this has to be danced very strong to counter the slight weakness of Des Grieux's character."

 

Edited May 9, 2018 by John Mallinson
Reformatted

[alison]

31 minutes ago, Fiz said:

Actually, the way Hirano danced it, you could see his mistress becoming more and more frustrated and annoyed which is rather true to life since in my experience, drunken people can be rather tedious to say the least.

 

One of these days, I really must keep an eye on Des Grieux and see how much he's drinking during this act.  Does he drink because he's miserable, because everyone else is doing it, to overcome his inhibitions about where he is, or does he remain stone cold sober and do the "Really, Lescaut, you're not nearly as funny as you think you are" thing which I expect most non-drinkers must have experienced at some time?

[alison]

One thing which keeps occurring to me mid-performance, and which I've usually forgotten by the time I get onto a computer again, is the way Francesca Hayward takes moments of the choreography, like a gesture or a leg movement, and makes them mean something, and you suddenly go "Of course!  That's not just an empty gesture as I'd thought."  I think that's why she made such a good fit with Ed Watson in this ballet.

 

I'm sure I will eventually remember all the other "mid-performance occurrences" and put a few more of them down.

[penelopesimpson]

I have always thought that she and Ed are perfectly matched, a dream pairing

[alison]

20 minutes ago, penelopesimpson said:

I have always thought that she and Ed are perfectly matched, a dream pairing

 

One more reason to be upset that they haven't been able to perform together in this run, presumably for the last time.

[Richard LH]

Just witnessed a sublime performance by Francesca Hayward in her last Manon this run.....😅

[Tony Newcombe]

9 minutes ago, Richard LH said:

Just witnessed a sublime performance by Francesca Hayward in her last Manon this run.....😅

Not forgetting wonderful performances by, Bonelli, Campbell and Calvert. It was a magnificent company performance.

[Sim]

Francesca Hayward was amazing.   My only view of this cast in this run, but it was well worth the wait!  Federico Bonelli looked tired to me, and lacked the ardour, passion and desperation of Vladimir Shklyarov and Alexander Campbell, but his dancing was nice and there was a connection with Hayward.  I would love to see her dance it with Campbell next time around.  

 

Speaking of Campbell, he was a wonderful and even believable Lescaut, and together with Claire Calvert's earthy, tactile Mistress they were the perfect match.  

 

I think that Francesca Hayward will be one of THE Manons of this generation.  Come to think of it, of ANY generation.  A truly emotional and unforgettable portrayal of this most complex of characters.  A joy to behold.  

[Shya100]

It was a wonderful show today. Throughly enjoyed it; and listening to running commentary from those around us. Campbell nearly stole the show. Really coming into his peak as a dancer. Bonnelli looked abit weak/distracted/tired next to him and Hayward. Calvert was gorgeous, and sensual as the mistress. Definitely a favourite for me: Manon. One of my favourites.

[capybara]

You've all beaten me to it. Hayward's performance as Manon this afternoon did more than touch greatness: it was surely one of the best all round portrayals of the role ever. I saw her opening night on this run and, yes, she was very, very good and deserved all the plaudits she garnered then. But this was something else. After all the conflicting emotions she had shown us and the journey she had taken us on, she really did die in that swamp. Just amazing.

 

Campbell reprised his Lescaut to considerable effect - as we all knew he would. But I'm sorry to say that, for me, Bonelli simply danced neatly and emoted suitably without any real feeling coming from his face or his body.  I felt no chemistry between  the two leads and the fact that they hardly related to one another at the curtain calls served to emphasise a gap which should not have been there - such a pity.

[aliceinwoolfland]

I wish Hayward and Campbell could have danced together! She was completely magical today, and the only Manon thus far to move me to tears (Osipova came very, very close...) 

[ninamargaret]

Really enjoyed this afternoon. I think Francesca Hayward is definitely in the running to take Jennifer Penney's crown. I'm afraid Bonelli.is my sacred cow, so don't agree with some earlier comments! But having seen Campbell last week I would love to see him with Hayward. Seems to me that Bonelli's interpretation is slightly more rooted in the big, sweeping romantic style, Campbell's has a rather newer, fresher feel. Would love to have seen some of the other casts, but circumstances were against it. I think the whole cast has performed so well in this run - no weaknesses at all.

Edited May 12, 2018 by ninamargaret
auto correct

[Riva]

I was deeply moved by today’s Manon and agree with Sim above that this is surely to be Francesca Hayward’s signature role - she was absolutely captivating and really embodied the young woman discovering her allure and sexuality, and using it to her advantage. She is a very fine actress - I really felt I understood Manon’s predicament choosing between her lover and the opportunity for a comfortable life. 

 

Plenty of earnest ardour from Federico Bonelli. As others have noted previously we (the audience) don’t get to know much of Des Grieux’s character, but he was clearly enraptured the moment he laid eyes on Manon in Act I, and I felt the heartache in Act II as he watched her, still and silent, patiently waiting for a chance to be near her again. 

 

The pas de deux by Hayward and Bonelli were stunning - emotionally charged, full of drama, but at the same time made them look effortless. All fingers crossed that Onegin is revived again soon and we get to see Hayward as Tatiana, I think she’d be phenomenal. 

 

Alexander Campbell an absolute star as Lescaut, for me he gave just the right balance of brotherly affection, opportunist rogue and awful boyfriend. I really enjoyed seeing Yuhui Choe’s Mistress a few weeks ago (I felt she portrayed a well-rounded character with a personality) and would love to see them dance these roles together in a future run - they have always been dynamite together. 

 

Bennet Gartside an utterly repulsive (and therefore brilliant) Gaoler. Notable mentions for Thomas Whitehead, Choe and Beatriz Stix-Brunell and also Fumi Kaneko who my eye kept being drawn to in the corps. 

 

A performance I won’t be forgetting any time soon!

[JennyTaylor]

I went this afternoon too, so this was a repeat for me of seeing this cast. Francesca Hayward was phenomenal - simply went to another level of performance. Not just the dancing but the acting too. We have something so special here. 

 

I'm not sure I can rave about Alexander Campbell much more but I suppose I can try. His Lescaut included yet more little nuances and my eyes were always drawn to him when he was on stage. Dancing impeccable as always. 

 

Oh to see these two as the lead pairing. What a joy that would be. With James Hay as Lescaut. 

 

That being said, I warmed to Bonelli this afternoon, having been luke warm on other occasions. I think he plays it traditionally straight - Campbell, for example was much more anguished and emotional in the role, and Bolle more ardent, but I saw a lot more emotion in Bonelli today than on other occasions.   

 

I enjoyed the whole performance tremendously. As we are now late in the programme, everyone knows their part and plays it to the full.  Love Claire Calvert as the mistress - I think she is the best one in the current run.  It's also great to see so many high potential male dancers as the Gentlemen and Clients.     

[penelopesimpson]

Too tired to say anything other than Magnificent. Totallyfabulous from all concerned. My second time with this castwho just get better and better. Francesca you had me sobbing and I absolutely loved the partnership with Bonelli who was everything you could want in a lover.

[penelopesimpson]

4 hours ago, ninamargaret said:

Really enjoyed this afternoon. I think Francesca Hayward is definitely in the running to take Jennifer Penney's crown. I'm afraid Bonelli.is my sacred cow, so don't agree with some earlier comments! But having seen Campbell last week I would love to see him with Hayward. Seems to me that Bonelli's interpretation is slightly more rooted in the big, sweeping romantic style, Campbell's has a rather newer, fresher feel. Would love to have seen some of the other casts, but circumstances were against it. I think the whole cast has performed so well in this run - no weaknesses at all.

Bonelli is not a sacred cow for me and as someone who worships Ed Watson, I would be critical of his replacement ...but for me Bonelli was spot on.Elegant and enraptured, he let nevertheless let Francesca fill the emotional space and somehow, for me, his somewhat simplistic portrayal was pitched just right.

[Jan McNulty]

I think Francesca Hayward is very, very special indeed as Manon.

 

I loved the performance this afternoon and was sobbing by the end!  Alexander Campbell, of course, showed what a truly consummate actor he is as Lescaut and what a fantastic contrast from his performance of Des Grieux last week.

 

The interaction between Francesca and Federico Bonelli was terrific too.  The whole cast sparkled.  I am an emotional wreck (again!).

 

Lovely to see so many BCoF chums too!

[ninamargaret]

I'm beginning to think De Grieux is an extremely difficult role to bring off. Let's ignore the dancing of it - the character is that of a studious young man, who falls deeply in love, then gets caught up with a nasty piece of work in Lescaut, sees his lover being carted off by Monsieur GM, flirting with other men, and finally coming to a particularly nasty end. I think its difficult for any dancer to convey his innocence and the. ever darkening situation in which he finds himself. I suspect the Abbe  Prevost's sympathies were very much with him.

[JohnS]

Just back home and able to see all those posts about today's performance - a very enjoyable read.

 

Today's matinee was a fabulous end for me to the current run of Manon’s with quite the most shattering Act 3 I’ve seen.  Each scene in that Act ratcheted up the tension and the final climactic minutes were stupendous, Francesca Hayward’s Manon held aloft for one final moment by Federico Bonelli’s De Grieux and then falling lifeless as if broken in half, succumbing to the inevitable, despite the efforts of De Grieux and the blazing orchestra.  Tears flowed from the end of the first scene for me and I wasn't alone.  

 

Great to have Bennet Gartside back from injury as the Gaoler.  Awful seeing him toying with the convict women, selecting his victim, and the abuse of power.  I loved yet again how Francesca hurls the bracelet at his body in utter contempt.

 

I found the Hayward/Bonelli convincing.  I thought Federico’s ripping the bracelet off Francesca at the end of Act 2 and Francesca’s recognition that yes love is stronger than riches just before GM et al come on stage very telling and prescient of Act 3.  Perhaps I agree that Alexander Campbell this run is the ideal De Grieux but he is also fabulous as Lescaut and I don't think even Alex could manage both roles.

 

I’d been fortunate enough to see two previous performances of the three principals this time (and still recall Francesca's Manon debut with Ed Watson).  I’ve enthused particularly about the first two Acts in earlier posts, just wondering if there might be a little extra in Act 3.  And what an explosion we had this afternoon in Act 3, a performance which will stay with me (and I’m sure many others from the posts above) for a very long time.

 

It’s very hard to think what Francesca's signature role might be.  I think I mentioned Giselle in that vein as I was so impressed during the last run and of course she has so many roles still to dance.  Yes Tatiana is tremendously appealing as would be Mary Vetsera (apologies for the repeat) but her Manon this afternoon was absolutely mesmerising.

 

 

[ninamargaret]

11 minutes ago, Jan McNulty said:

I think Francesca Hayward is very, very special indeed as Manon.

 

I loved the performance this afternoon and was sobbing by the end!  Alexander Campbell, of course, showed what a truly consummate actor he is as Lescaut and what a fantastic contrast from his performance of Des Grieux last week.

 

The interaction between Francesca and Federico Bonelli was terrific too.  The whole cast sparkled.  I am an emotional wreck (again!).

 

Lovely to see so many BCoF chums too!

What you need Jan is some lovely way of getting him to do both parts in the same performance! I think his performances in both parts have been amazing, both beautifully danced, and I have to admit I never realised what an actor he is! 

[JohnS]

2 minutes ago, ninamargaret said:

What you need Jan is some lovely way of getting him to do both parts in the same performance! I think his performances in both parts have been amazing, both beautifully danced, and I have to admit I never realised what an actor he is! 

 

I think we might just have posted the same thought!

[alison]

5 hours ago, Richard LH said:

Just witnessed a sublime performance by Francesca Hayward in her last Manon this run.....😅

 

That's funny.  So did I :)

 

5 hours ago, Tony Newcombe said:

Not forgetting wonderful performances by, Bonelli, Campbell and Calvert. It was a magnificent company performance.

 

It was.  Reminded me of the first night, when I said how sharp the company was looking.  Which made me realise that there had been a little bit of "bluntness" in some of the intervening performances.

 

5 hours ago, Sim said:

Speaking of Campbell, he was a wonderful and even believable Lescaut, and together with Claire Calvert's earthy, tactile Mistress they were the perfect match.  

 

I think that Francesca Hayward will be one of THE Manons of this generation.  Come to think of it, of ANY generation.  A truly emotional and unforgettable portrayal of this most complex of characters.  A joy to behold.  

 

I quite agree, on both counts.  In fact, as the performance progressed I was coming to the conclusion that if I were the powers that be thinking about a DVD release I might hold off a little longer and wait for Hayward to reach full maturity in the role.

 

2 hours ago, JennyTaylor said:

I'm not sure I can rave about Alexander Campbell much more but I suppose I can try. His Lescaut included yet more little nuances and my eyes were always drawn to him when he was on stage. Dancing impeccable as always. 

 

Oh to see these two as the lead pairing. What a joy that would be. With James Hay as Lescaut. 

 

Actually, I was musing on the possibilities, in the future, of Hayward, Hay as Des Grieux and Campbell as Lescaut ...

Quote

I enjoyed the whole performance tremendously. As we are now late in the programme, everyone knows their part and plays it to the full.  Love Claire Calvert as the mistress - I think she is the best one in the current run.  It's also great to see so many high potential male dancers as the Gentlemen and Clients.   

 

Yes, agree.  Not much has been said about the Three Gentlemen in this run, but from what I've seen I'd say they've been exceptionally "together", regardless of height differences and late cast changes.

 

16 minutes ago, penelopesimpson said:

Bonelli is not a sacred cow for me and as someone who worships Ed Watson, I would be critical of his replacement ...but for me Bonelli was spot on.Elegant and enraptured, he let nevertheless let Francesca fill the emotional space and somehow, for me, his somewhat simplistic portrayal was pitched just right.

 

Yes.  I'm still hugely disappointed that injury and illness hit the scheduled casts I really wanted to see above all others, but I think we could scarcely have done better with the replacement casting.

[Richard LH]

16 hours ago, Richard LH said:

Just witnessed a sublime performance by Francesca Hayward in her last Manon this run.....😅

I find that the above Emoji, picked on my tablet yesterday on the train home,  comes out looking different on the PC.  On the tablet I can't see a written description of Emojis and I thought I had picked something like "Happy And Shedding A Tear" - not, as the PC has it,  "Smiling Face With Open Mouth And Cold Sweat" !  Learning point for the day is not to rely on technological short cuts as a lazy way to  describe your feelings!  

 

I am so pleased that posters here loved this performance so much, and it certainly went down a storm in the ROH. All the cast were tremendous  and as other have said, Campbell seems to be on amazing form at the moment in whatever role. Calvert too. Thinking of another thread,  I was wondering of this was to be one of the rare "standing ovation" occasions - apparently not,  so I am not sure when that would ever be ! - perhaps only a farewell  performance from a much loved principal. 

 

It is difficult to know how to usefully add to the praise for Hayward's performances. Her beautiful, flowing, agile dancing style is now a "given"  but deserves yet another mention, considering how much hard work she must have put into presenting, as effortless, what is extremely  complex and difficult, both in terms of technique, and characterisation.

 

One  special moment for me was during her first  PDD when you could see the surprise and joy entering her face and her dancing as she suddenly  discovered the thrill of being with Des Grieux.

 

And then several moments during Act 2 as her delight in being the centre of attention, and being courted by numerous men,  becomes  increasingly pierced with doubts as she keeps encountering Des Grieux.

 

And then  towards the end of Act 2 when she was trying to tease Des Grieux (and I think convince herself) into believing  she could have both his love and the rewards (bracelet)  from other liaisons - and her shock in his rejection of that.

 

Just brilliant. 

Edited May 13, 2018 by Richard LH

[JohnS]

15 hours ago, capybara said:

I felt no chemistry between  the two leads and the fact that they hardly related to one another at the curtain calls served to emphasise a gap which should not have been there - such a pity.

 

I found the curtain calls extremely touching and am delighted that bangorballetboy has posted fabulous photos on Instagram (again) which capture those moments.

[Richard LH]

28 minutes ago, JohnS said:

16 hours ago, capybara said:

I felt no chemistry between  the two leads and the fact that they hardly related to one another at the curtain calls served to emphasise a gap which should not have been there - such a pity.

 

I found the curtain calls extremely touching and am delighted that bangorballetboy has posted fabulous photos on Instagram (again) which capture those moments.

 

I agree JohnS, I didn't see any lack of rapport between them at the curtain calls. I don't think Hayward could have danced so well if she did not have, and feel, true chemistry with her partner.  She has just given him first mention and praise on her Instagram page.

Edited May 13, 2018 by Richard LH

[Jan McNulty]

59 minutes ago, Richard LH said:

Thinking of another thread,  I was wondering of this was to be one of the rare "standing ovation" occasions - apparently not,  so I am not sure when that would ever be ! - perhaps only a farewell  performance from a much loved principal. 

 

 

 

 

I noticed a few people standing towards the back of the centre block of the stalls but not a huge standing ovation.

[capybara]

I was so wrapped up in the aftermath of the final pas de deux that I didn't think to stand. I should have done.

[aliceinwoolfland]

What is the general etiquette wrt standing ovations? I don't like to stand (unless everyone else is!) because it blocks the view of the people behind me.

[capybara]

18 minutes ago, aliceinwoolfland said:

What is the general etiquette wrt standing ovations? I don't like to stand (unless everyone else is!) because it blocks the view of the people behind me.

 

There is discussion of that issue from near to page 70 onwards of this thread: http://www.balletcoforum.com/topic/1654-audience-behaviour/?page=72

 

[alison]

14 hours ago, Richard LH said:

One  special moment for me was during her first  PDD when you could see the surprise and joy entering her face and her dancing as she suddenly  discovered the thrill of being with Des Grieux.

 

And then several moments during Act 2 as her delight in being the centre of attention, and being courted by numerous men,  becomes  increasingly pierced with doubts as she keeps encountering Des Grieux.

 

Yes, you could really see every thought flitting over her face, even if it only lasted a moment.  I liked the distinction between her reactions to putting on the fur cloak and having the necklace put on her: with the latter, I got the distinct impression that she acknowledged that a collar was being put on her and that there would be a price to pay for it.

[Richard LH]

Alison  yes I am sure you are correct about the necklace/collar.  She loved the thought of being beautifully adorned, and being rich, but at the same time is conflicted with the freedom and passion she will be giving up -  a conflict she shows again when she touches  Des Grieux's bed longingly, just before leaving with M. G. M.  But she thinks she can manage the conflict - as I posted earlier, in the novel it is made clear that  Manon  believes she can compartmentalise  giving away her body, and  giving away her  heart.

 

Towards the end of Act 2  it is the bracelet that symbolises  either the  pathway to a comfortable life, as Manon would wish  - (riches gained from selling her body, yet still available to be displayed, and even enjoyed, in the company of her lover) -  or , as  Des Grieux sees it, the awful contraint of her being in another's ownership. Hayward and Bonelli  played this out powerfully and I found Hayward's portrayal of the changing dynamics in this part especially moving.

 

Another contrast that struck me was that  between the grand  fur-lined cloak worn by Manon as she makes her striking entrance in Act 2, and the rather less spectacular black dress revealed beneath. Perhaps there is a symbol here of outer apparent glory but inner darkness...?

Edited May 14, 2018 by Richard LH