Manon, Royal Ballet Winter 2024

[Sim]

What a deeply emotional and heartbreakingly passionate performance from Osipova/Clarke tonight. It took my breath away.  

[Fiona]

I absolutely agree with the posts above!  A truly wonderful performance, with Osipova just brilliant and Reece Clarke a fantastic Des Grieux, such beautiful lines, and the two of them living their parts. Gary Avis a suitably creepy GM, and Campbell and Magri excellent, plus the Corps and everyone in it. How lovely it is, too, to hear such cheering for the Orchestra as well as for the performers.  So well deserved.

Edited February 7 by Fiona

[CCL]

Just got home from tonight’s performance. I concur with all of the above. I need to go to bed as I have an early start tomorrow but will try to write more in due course. 

[Jan McNulty]

I was at the cinema relay.

 

23 minutes ago, Sim said:

What a deeply emotional and heartbreakingly passionate performance from Osipova/Clarke tonight. It took my breath away.  

 

Wot Sim said!

 

I thought all 3 leads were totally immersed in the performance and incredibly compelling to watch.  I was in floods at the end.

 

I think I appreciated for the first time just how the closeups can enhance the performance and how you can see detail that you wouldn't even see sitting on the front row of the stalls or using binoculars.

[Paco]

Agree with the above comments. A deeply emotional performance, with a devastating Act III where Osipova and Clarke have reached levels of dramatic intensity hard to describe with words!

 

What was amazing throughout the performance was that everything was natural, all moves and even technical complexity had a meaning.

 

And in addition to Osipova and Clarke, the other dancers were wonderful as well. A perfect Lescaut with Mr Campbell, so subtle in his interpretation, so credible in his youthful acting. And a luxury Mistress with Mayara Magri, who played her character like a mirror of Manon. As usual she was putting fire on stage.

Perfect corps de ballet.

 

Among my best Manon performance at the ROH. And for sure my best Act III, the kind of emotion that I will never forget for the rest of my life!

[Angela Essex]

I was at the cinema relay. 

Osipova/Clark are a magical partnership.  The utter desolation and wretchedness they portrayed in Act 3 was awesome and unsettling. I left feeling emotionally drained and I really felt for Manon. What a phenomenal performance.

Not gonna lie I found the treatment of women disturbing - violence, sexual assault, rape. MacMillan was definitely not afraid to confront those subjects. 
The principal cellist was top notch too. As was the whole orchestra. 
Going to see Nunez / Bolle on Friday so it will be interesting to compare how the two couples interpretations. 

[Rob S]

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

[Sim]

I spotted John Major and Eddie Redmayne in the audience tonight.  I’m sure they enjoyed it as much as we did!  

[bridiem]

Back from the live screening - cinema nearly full and very appreciative audience.

 

A few random thoughts:

- Osipova lived and breathed the character of Manon from the first moment we saw her. Complete absorption in the role. Absolutely heartbreaking when she placed her head on the bed she had just shared with Des Grieux, knowing she was about to sell herself (and be sold) to the loathsome Monsieur G. M. And although she loves and needs the wealth that it brings her, she also hates herself for what she's doing. She's agonisingly conflicted. By Act III, she's in a stupor of misery and disbelief and dies as much of despair as of any physical cause. A stunning performance

- Reece Clarke looked magnificent, danced magnificently, and partnered magnificently. Absolutely beautiful. I don't feel that he has great dramatic strength or depth, but he does enable Osipova to take flight and then goes with her

- Alexander Campbell was a tremendous Lescaut - scheming, charming, pimping, dancing beautifully and acting wonderfully. The drunk scene this time made complete sense since it became a metaphor for his situation - out of control but thinking he was in control, lost but thinking he was making his way, almost funny but actually tragic. Brilliant. Mayara Magri strengthened this sense with her subtle, beautifully danced Mistress

- superb acting from Gary Avis, Lukas BB and the whole company

AND

- magnificent solo cellist in Act III. So moving. I wished he'd had a bow all of his own at the end

 

[Rob S]

25 minutes ago, Sim said:

I spotted John Major and Eddie Redmayne in the audience tonight.  I’m sure they enjoyed it as much as we did!  

I saw Eddie but had a Major oversight. I saw Susan Hampshire though, and Ralph Fiennes 

[Sim]

40 minutes ago, Rob S said:

I saw Eddie but had a Major oversight. I saw Susan Hampshire though, and Ralph Fiennes 

I saw Susan Hampshire but wasn’t sure if it was her.  She is often there.  Missed Ralph!  

[Missfrankiecat]

3 hours ago, Sim said:

I saw Susan Hampshire but wasn’t sure if it was her.  She is often there.  Missed Ralph!  

Susan was at the Sat matinee.

[Silver Capricorn]

Manon, one of my favorite ballets. I flew to London on Saturday to see the matinee and evening performances. I chose them based on the cast I wanted to see. Especially Natalia Osipova, I never
 doubted her Manon for a moment after seeing her as Maria in Mayerling. I have an idea about Manon that may differ from the opinion of the majority. Although Manon is young, her family sends her to a convent because of her inappropriate behavior and for fear
 of the scandals she might cause. She is definitely not innocent or naive. She doesn't want to go to a convent, so running away with the bewitched Des Grieux is her way out. Before escaping, he does not hesitate to rob an old fellow traveler of money. At the
 moment when they run out of money (in the famous scene Des Grieux writes a letter to her father asking him for money), Manon sees only the luxury offered to her by Monsieur G.M. resist. The moment he puts on her a luxurious fur coat and a diamond necklace,
 she finds herself almost in a trance, just like in the company in Act 2, where she is the center of attention of all the men. Only in Act 3, ill at the end of her strength, does she see the only certainty and help in Des Grieux. In contrast, Des Grieux is
 an apparently inexperienced young man who is willing to forgive Manon everything just to stay close to her. Because of her, he leaves his family, his life plans (he was supposed to become a Knight of the Order of Malta), participates in her brother's nefarious
 activities, becomes a fake gambler and finally a murderer. However, she is also the main character of the original novel, not Manon. Of the two Des Grieux I have seen, William Bracewell is closer to this idea. Reece Clarke was an excellent partner for Osipova,
 but he didn't really catch my attention in Saturday's performance, unfortunately not even from a technical point of view. The performance of the ballet troupe and orchestra was excellent in my opinion. Of all the representatives of the main pair that I have
 had the opportunity to see, for me, last year's partnership of Dorothée Gilbert and Hugo Marchand from ONP still remains unbeatable. But that may change on 2/23/2024, I'm in high anticipation…
 

[Linnzi5]

My small group attending the live cinema relay really enjoyed the performance. One had never seen Manon before and absolutely loved it. We all thought Osipova inhabited the role of Manon and gave a wonderful performance. We also thought Clarke was technically superb and extremely dashing, though I felt, like @bridiem that he lacked depth at times - the rest of my group didn't agree with me there. However, he is a wonderful, supportive partner for Osipova and she lit up the stage and I liked her interpretation of Manon.

 

I loved Campbell as Lescaut - a nuanced performance which translated well to the cinema screen. Magri was technically superb and I felt her Mistress was a rather sad character at times, which I liked. Braendsrod was suitably despicable and who thought he could maintain such a sneering face? I didn't think his performance was as chilling as Avis's (who I found particularly and convincingly revolting!) and the scenes where he violated Manon were not as convincing as some others I have seen - I felt they were a little toned down and I wonder if that was deliberate for the cinema screening? (I'm not saying that is a bad thing, just an observation).

 

The corps were on top form and the orchestra as wonderful as ever. 

 

All in all, a most enjoyable evening and a triumph for RB. 

 

Edit: forgot to mention Avis's Monsieur GM - a wonderful performance! He was absolutely horrible and vile. Finally, the cellist (sorry, do not know who it was but will check) - his solo was absolutely beautiful and was a highlight of the evening for me.

 

Edit again! I believe the principal cellist was Christopher Vanderspar

Edited February 8 by Linnzi5

[Tiptoesmama]

First time seeing Manon for me, the cinema screening.  Absolutely incredible - I loved it.  Contrary to some of the opinions I’ve read on here, I was really moved by Clarke’s acting - the final scene took my breath away he is was superb.  Also loved Campbell and Magri, and Osipova is mesmerising of course (although I have to admit being slightly distracted by her shoes 🤣 worked well in the final scene of course - and I don’t think I’ve ever seen them up close like that with the cinema filming - but they looked like they were hanging on by a thread.  Must be how she likes it! Incredible dancer).  
 

I also absolutely loved the cellist solo - and how wonderfully filmed for the cinema! 
 

is there somewhere to watch the cinema relays again? Do they keep them for the ROH recording subscriptions?

[Fiz]

Gutted to say that we had an email in the afternoon that said the cinema’s satellite was down and the relay would not be going ahead. I can’t go on Sunday either as our daughters are coming to celebrate the youngest’s birthday. It sounds as if we missed a brilliant show. 

[Balletbloke]

7 hours ago, Rob S said:

I saw Eddie but had a Major oversight. I saw Susan Hampshire though, and Ralph Fiennes 

I had a lovely chat with Susan Hampshire, who I see often at the ROH. She also gave me a chocolate.

More to the point, it was my third Manon, and I took a friend who hasn't seen much ballet before, and the performances left him spellbound! What a masterpiece.

[Jake]

Great to see our cinema full last night. If it was booked solid for Manon, I’ll have to remember to book well in advance when Swan Lake comes around.

Can only echo what others have said. A thrilling performance by Osipova, wonderful to see that her dramatic intensity is as strong as ever. Thought she brought out Manon’s internal conflicts superbly.

She is obviously so secure in her partnership with Clarke. I don’t find him the most expressive of actors but he looked superb, gave it his all in the third act and his despair at the end was tragically convincing. Poor Manon must be so tired and weak by then and it must be difficult for the dancer to show this aspect at the same time as coping with the ultra-dramatic choreography - thought Osipova managed that compromise particularly well.

Campbell, Magri and (I mean this as a compliment) Avis inhabit their roles so perfectly and the latter now has a rival in nastiness in the gaoler’s role in Braendsrød. 

With such a ‘busy’ ballet it’s good to pick up new details every time you see it, which is where the broadcasts really come into their own. Especially noticed the usually so regal Elizabeth McGorian having a ball as ‘Madame’.

Now can’t wait to see Kaneko and Muntagirov live - always feel he’s the ideal Des Grieux and have the highest of hopes for her. Judging by comments here, only sorry to have missed Naghdi/Bracewell. Aren’t we fortunate to be able to see so many outstanding actors?

[Fonty]

I went to the cinema in Portugal, as I am on holiday at the moment.  Mr Fonty said he had never seen Manon before, although I could have sworn he was with me when I saw Morera in the role.  The other two friends had definitely never seen it.  There was a moment when we got there when the cinema said they were not sure if the performance would go ahead.  A problem with the feed, apparently.  Fortunately, it was sorted out in time.   The cinema was comfortably full, which makes a change from the last time I went to my local in London.

 

Really enjoyed the performance, agree with all the comments above.  I am not a die hard Osipova fan, as some are on here, but I thought she was wonderful in this.  Clarke is wonderfully good looking - of course a young girl would fall for him.  I didn't have any problems with his acting, although I have always thought Des Grieux is a difficult character to portray.  Very difficult not to make him a bit weedy and wet, and I couldn't help thinking that as he towered over the rather diminutive  Lescaut, he should have been able to physically restrain him and protect his woman.  I have always like Campbell in everything I have seen him in, and I wasn't disappointed on this occasion.  His drunken pdd with Magri had the audience sniggering out loud. 

 

Several points puzzling me.  At the start of Act 3, why are the women coming off the boat clutching the tops of their heads?  My friend whispered "Do they have lice or something?"  With a lack of cast lists and no story synopsis, I couldn't remember the specific reason for that gesture.  Are they supposed to have had their heads shaved, and are mourning the lack of hair, as well as generally being in a terrible state after an awful journey?

Secondly, when Darcey asked about whether or not the dancers had acting lessons, Kevin O'Hare said the RB employed an intimacy coach. I am sure he said it was to make sure everyone was comfortable with things.  I know the story involves sex and rape, but dancers are used to getting close and personal with their partners, it is the nature of the art.  I wonder what would happen if a dancer said they were not happy with it!  Demand a change of a choreography?

 

Thirdly, I do wish at the end of the performance, we could just savour the moment in the cinema, and watch the curtain calls.  Is it really necessary to cut back to the two commentators standing backstage telling us how wonderful it has been and how good the dancers were?  I would prefer a short voice over saying something along the lines of "hope you enjoyed it and goodnight.."

[bridiem]

10 minutes ago, Fonty said:

Thirdly, I do wish at the end of the performance, we could just savour the moment in the cinema, and watch the curtain calls.  Is it really necessary to cut back to the two commentators standing backstage telling us how wonderful it has been and how good the dancers were?  I would prefer a short voice over saying something along the lines of "hope you enjoyed it and goodnight.."

 

Completely agree. And, fond as I am of Darcey Bussell, I've got to the stage where I just find it too nervewracking watching her. She's still so clearly petrified, and because she's having to read and speak prepared texts rather than just talking, she really isn't comfortable and makes too many mistakes and says things that make her sound vapid when that's the last thing she actually is. Petroc Trelawney is excellent and very kind, but even with his support for her I find it quite agonising. I think she should be used for rehearsal extracts or informal chats with dancers, not for formal presentation or interviews.

[capybara]

11 minutes ago, bridiem said:

 

Completely agree. And, fond as I am of Darcey Bussell, I've got to the stage where I just find it too nervewracking watching her.

I think she should be used for rehearsal extracts or informal chats with dancers, not for formal presentation or interviews.

Or not at all. Her continuing ‘public’ presence with the RB is (yet another) factor which, to my mind at least, is getting in the way of the current generation of dancers gaining wider recognition for the huge stars they are.

[BeauxArts]

I do think these comments about Darcey are uncharitable and unmerited. She has a very high public profile and that gives her instant recognition and puts her in a unique position to elevate the art form. At a time when bashing elitist arts and portraying the ballet world as hostile to all young people (see today’s Telegraph) Darcey surely projects the other side of the story. I simply cannot see how she gets in the way of current dancers. On the contrary, she lauds them and adds to their artistic development. 

[Silver Capricorn]

1 hour ago, Fonty said:

I went to the cinema in Portugal, as I am on holiday at the moment.  Mr Fonty said he had never seen Manon before, although I could have sworn he was with me when I saw Morera in the role.  The other two friends had definitely never seen it.  There was a moment when we got there when the cinema said they were not sure if the performance would go ahead.  A problem with the feed, apparently.  Fortunately, it was sorted out in time.   The cinema was comfortably full, which makes a change from the last time I went to my local in London.

 

Really enjoyed the performance, agree with all the comments above.  I am not a die hard Osipova fan, as some are on here, but I thought she was wonderful in this.  Clarke is wonderfully good looking - of course a young girl would fall for him.  I didn't have any problems with his acting, although I have always thought Des Grieux is a difficult character to portray.  Very difficult not to make him a bit weedy and wet, and I couldn't help thinking that as he towered over the rather diminutive  Lescaut, he should have been able to physically restrain him and protect his woman.  I have always like Campbell in everything I have seen him in, and I wasn't disappointed on this occasion.  His drunken pdd with Magri had the audience sniggering out loud. 

 

Several points puzzling me.  At the start of Act 3, why are the women coming off the boat clutching the tops of their heads?  My friend whispered "Do they have lice or something?"  With a lack of cast lists and no story synopsis, I couldn't remember the specific reason for that gesture.  Are they supposed to have had their heads shaved, and are mourning the lack of hair, as well as generally being in a terrible state after an awful journey?

Secondly, when Darcey asked about whether or not the dancers had acting lessons, Kevin O'Hare said the RB employed an intimacy coach. I am sure he said it was to make sure everyone was comfortable with things.  I know the story involves sex and rape, but dancers are used to getting close and personal with their partners, it is the nature of the art.  I wonder what would happen if a dancer said they were not happy with it!  Demand a change of a choreography?

 

Thirdly, I do wish at the end of the performance, we could just savour the moment in the cinema, and watch the curtain calls.  Is it really necessary to cut back to the two commentators standing backstage telling us how wonderful it has been and how good the dancers were?  I would prefer a short voice over saying something along the lines of "hope you enjoyed it and goodnight.."

Prostitutes sentenced to deportation had their hair cut off as part of their punishment. Their gestures are apparently meant to signify shame over this humiliation. After all, hair cutting was commonly practiced after the Second World War against women who collaborated with the fascists - in France and Italy.

[annamk]

46 minutes ago, capybara said:

Or not at all. Her continuing ‘public’ presence with the RB is (yet another) factor which, to my mind at least, is getting in the way of the current generation of dancers gaining wider recognition for the huge stars they are.

 

Gosh @capybara that is a rather unkind comment given all that Dame Darcey Bussell has done to promote ballet to the wider public. It is well known that she suffers from dyslexia, surely audiences these days are more sympathetic these days to disabilities, not everyone has to be a pitch perfect presenter.

 

As for her getting in the way of the current generation I don't understand your point at all. 

[bridiem]

4 minutes ago, annamk said:

It is well known that she suffers from dyslexia, surely audiences these days are more sympathetic these days to disabilities, not everyone has to be a pitch perfect presenter.

 

As for her getting in the way of the current generation I don't understand your point at all. 

 

I don't know how widely known her dyslexia is, but the point is that she has many talents that could (and in my view should) be used during these screenings and in other contexts; being a formal presenter is not what she's good at. And I think the presenters, even if not perfect, should not distract from the subject matter they're there to present.

 

I think she is very generous to the current generation of dancers and a wonderful ambassador for ballet, and for dance more generally.

[Rob S]

43 minutes ago, Silver Capricorn said:

Prostitutes sentenced to deportation had their hair cut off as part of their punishment. 

 

Given the hairstyles used by the prostitutes in this production shaving it off is almost an improvement😄

[Sim]

I have to disagree with the comments about Reece's acting last night.  I do agree that he can sometimes seem a bit wooden, but last night he let go and for me, was heartbreaking.  The look of hurt and pain on his face in Act 2, when he never took his eyes off Manon;  in Act 3 when he had to stand helpless and watch the gaoler abusing his love, then lying on the ground with her, so worried and in such despair.  The changes on his face in the final pdd, veering from happy and hopeful and encouraging ('come on, you can do this, then we can go away from here') to abject desolation when he realises there is no hope, then his whole body going limp with sadness at the end.  Throughout the ballet, the passion with which he partners and relates to Osi/Manon, the way he looks at her....to me it felt entirely natural.  They both took us on a journey which, thanks to their interpretations in the Act 2 pdd, we all knew could only end in tragedy.  I felt the premonition of doom in that pdd, and it made me so sad.  For me, this ballet only really works when both leads feed off each other, and dive deep.  These two have a very empathetic partnership.  Reece allows Natalia to shine in her own way and as only she can.  There is no competition for being the centre of attention.  Conversely, Natalia brings things out of Reece that only she can.  This comes from years of dancing so closely together.  

 

I could sit here and write an essay about Natalia's Manon, all the little touches that make it so special.  Maybe I will, but time is against me at the moment.  

 

I loved the rest of the cast as well:  Alex Campbell a conniving Lescaut but still caring deeply for his sister and feeling the guilt about what he has done to her.  Mayara Magri an alluring Mistress.  Lukas BB a truly nasty Gaoler.  I think there is room for more characterisation, but for a second go, it was pretty good.  

 

The girls coming off the ship clutch their heads mostly from shame and humiliation, but also to show us how sick they are after their horrible journey.  Regarding that scene...I seem to remember in previous runs that the townspeople were much more involved with the girls, e.g. running to help them stand up, putting a comforting arm around them, but it seems to me that that isn't happening anymore?

 

A very special night and I do hope they make it available on the screening as I would love to see it again.

 

[LinMM]

I do not understand how Darcey Bussell is getting in the way of the younger dancers ….she doesn’t perform any more …or have I

missed something 🤔

I don’t think Darcey finds it easy presenting to live audiences….. she was very nervous making her speech as Head Judge at the recent Prix de Lausanne …but I find it quite endearing and I think shows a more humble side to her considering her fame she has not got “too too big for her boots”  at all she can get nervous like anyone else. 
 

I think it’s to her credit that she probably gets asked to do things because of who she is and her comparative status in the Ballet World which she may find  a bit nerve wracking but gets on with it and does to the best of her ability. 
Not the natural aplomb of Fonteyn maybe but then who has! 
 

[Fonty]

Actually, I think Darcey has improved enormously, and  Petroc is the best partner she has had.  I think they work very well together.  Last night I noticed that there was far less quoting from the auto cue, and far more unscripted interviews, which personally I thoroughly enjoyed. 

[Peanut68]

Oh I have a real dilemma reading these wonderful reviews if the cinema screening…. Do I go to the encore showing on Sunday (assuming there is one locally) or do I wait for my ROH visit on 27th & not risk ‘diluting’ the emotion through seeing before/inevitable comparing cast in my head….

[Peanut68]

5 hours ago, Silver Capricorn said:

But that may change on 2/23/2024, I'm in high anticipation…

Which cast do you watch then? 

[RobR]

20 minutes ago, Sim said:

.Regarding that scene...I seem to remember in previous runs that the townspeople were much more involved with the girls, e.g. running to help them stand up, putting a comforting arm around them, but it seems to me that that isn't happening anymore?

 

I think I’m right in saying that this is not scripted or choreographed but is very much a matter for the individual dancer(s) to interact or interpret in their own way.

 

Most, if not all, of the female dancers/townswomen in this particular scene are less experienced dancers. This isn’t in any way a criticism of them, their dancing or their age and experience. I merely mention it to put my earlier paragraph into context. 

Edited February 8 by RobR
context

[RobR]

7 minutes ago, Peanut68 said:

Which cast do you watch then? 

I’m also very much looking forward to seeing Fumi and Vadim on 23 February. 

 

Interesting to read the various reviews. Having seen a few of the casts, I very much enjoyed Lauren and Matthew.