Manon, Royal Ballet Winter 2024

[MAB]

Of course the above discussion about New Orleans set me thinking.  Wasn't New Orleans Spanish not long before?  And wasn't it part of the Spanish Main?  So surely to be truly authentic shouldn't it be peopled with Jack Sparrow lookalikes and men with wooden legs and parrots on their shoulders?

[bridiem]

I would echo all the comments above about this cast. What a performance. I think that both Hamilton and Richardson have a kind of classic Hollywood glamour about them, which works very well in Manon. Hamilton's Manon absolutely revelled in her riches, and her power to gain those riches, and although she loved Des Grieux she had no intention of letting him spoil her plans. And Richardson's Des Grieux was a true innocent, who loved innocently and couldn't understand why Manon behaved as she did. In Act II, he walked slowly round the stage not in despair or anguish but in sheer disbelief. He was like Manon's conscience, their joint conscience, showing himself to her and waiting for her to respond. But she couldn't; not yet. And by the time she could, it was too late. Both of them danced so brilliantly; Hamilton in complete control and able to play with both the choreography and the character, Richardson utterly beautiful in the expressiveness and expansiveness of his line without sacrificing strength or precision. This was indeed the gentlest Des Grieux, and the most romantic. There were audible gasps around me at some of the lifts and throws in Act III. I found the death of this Manon particularly shocking, because she had been so vivid, so confident that she could have everything; and in the end she had lost everything, including her life. A superb performance by both of them, and all of them.

[Mary]

I completely agree with Dawnstar and bridiem and want to see a lot lot more of this pair who certainly performed like Principals last night. 

 

I am in a minority for whom Manon is not a favourite ballet but they nearly converted me. 

Richardson was completely convincing and  made the character live for me. 

His facial expressions were so well managed unlike some who tend to fix in an anguished scowl.

His dancing was exceptionally lyrical and expressive but controlled. 

 

If he can do that and an Espada who sizzles and steams that's a range! 

Very impressed. 

 

Every time I see Hamilton ie very rarely-  I wonder where has she been? Such a beautiful dancer and her feet act as expressively as hands. 

 

[SLH]

Richardson is extraordinary. I love watching him. He's such as interesting dancer with an incredible range - ugly sister and Gamache to Romeo and now Des Grieux. I hope he gets promoted soon.

[Mary]

I would love to see them in The Dream. 

[capybara]

Can I just say “thank you” for all the reviews and information which have appeared on here during the run of Manon.

 

Inevitably, circumstances and finances limit what one can see or research for oneself but performances I have missed have been brought vividly to life and many questions I have had in my mind for years have been illuminated.

 

I can’t believe that we are leaving the swamp and travelling to a lake. I’m not sure I’m ready to go (yet).

[Mary]

Seeing both in one day was more like going down Niagra Falls in a barrel emotionally speaking!

[Sim]

I thought that Calvin made a truly wonderful debut last night.  I will be honest here and say that I wasn't expecting it to be so good simply because he hasn't had much chance to dance many of the lead roles yet.  I was a bit concerned about the partnering due to lack of experience, but I needn't have worried.  Yes, I could see a bit of shaking at first, but as the night went on his confidence grew and by the end...wow!    I loved his interpretation of DG:  a young pup who is dragged down into the mire of a corrupt and corrupting world, and doesn't know how to pull himself out.  He truly believed that his love for Manon would be enough. He made more clear to me than any of the other DGs did how disgusted and resentful he was to have to cheat at cards, but was resigned to the fact that this seemed the only way to rescue Manon.  His gut-wrenching sadness in the Act 2 bracelet pdd showed so clearly his feeling of hopelessness when he realised that love would not in the end be enough for this Manon; she made clear that she was never to be tamed, and that she would always resent giving up her precious jewels for this life with him.  But it was too late and they were stuck in their situation.  In Act 3, as they descend from the ship, he seemed as drained and ill as Manon.  I really liked this;  why wouldn’t he be?  We forget that DG has also been on a ship for weeks, accompanying a ‘criminal’ and therefore probably not treated too well!  Aside from that, his lover is very ill, they have arrived in a strange place, with no money…it is perfectly plausible that he would also be sick.  His partnering in that final pdd was very impressive, the double-twists being executed with panache, and his catching her as she went floorwards more risky than some of the more experienced couples.  His silent cries as he cradled his dead love spoke volumes to me and pierced my heart. It was almost as if he wished he had died too.  During the curtain calls he was crying….and he was not the only one.

 

Melissa Hamilton gave a scintillating performance in the lead role.  Here was a minx who knew exactly what she was doing, and what she wanted.  From the very beginning we knew who and what she was.  She was bedazzled by the coat and the necklace and knew that there was a lot more where that came from.  I love so many touches that she gave the character.  She was the only Manon (that I have noticed) who, in the bedroom scene with GM and Lescaut, stares at the money pouch GM hands to Lescaut, and realises that she has literally been sold.  Her heart then goes cold, and this girl walks over to the bed but only vaguely touches it, before touching her necklace to remind herself what riches lie ahead.  So not many regrets for her. She made the bracelet a leitmotif throughout; always checking her wrist, even towards the end.  I loved the way, just after GM puts the bracelet on her wrist in Act 2, she teasingly shows him the other one and says ‘look, this one is bare’.  When DG manages to have a word with her in the party scene before they are alone, the first thing she does is show him her bracelet.  This Manon is strong and independent to the end.  She isn’t as weak and sick as some of the other Manons.  She stands up straight to approach the gaoler, and gives him a good fight.  After she is raped, I noticed her hands claw and scratch the floor, and with her it was as much anger as pain.  In the final pdd she is still fighting, realising too late that she has lost everything.    The dancing from both leads was wonderful, and I am only sorry that after all that work they only got one show.  But they made that show something very special.

 

A shout-out, a very loud one, for James Hay’s Lescaut.  Those eyes!  I found it very hard to take my own off him.  He has so much presence and he took us on his journey in such a way that he played with the emotions; he elicited everything from me:  amusement, anger, empathy and pity.  It’s so good to have him back.

 

Artistically, last night Calvin went from boy to man.  Huge congratulations to him, and to Melissa, for such an unforgettable night.

[JohnS]

I enjoyed last night and there was much to admire. Melissa Hamilton is a compelling Manon and I agree with the praise for Calvin Richardson’s debut, particular his solo work, acting and stage presence. But there were times when the partnering was insecure and I was pleased Melissa Hamilton is such an experienced Manon and covered so well. Act 3 impressed me most and I’d very much like to see them again: I wish they’d had chance for another performance this run.
James Hay is a magnificent Lescaut and I feel very fortunate to have seen his three performances. His cameo old man has also provided great entertainment and hopefully we’ll see him again in that role on Friday.

[ellyb]

Superb performance, very difficult to believe it was a debut - and very frustrating there was only one show which won't be repeated for three years. The whole cast was strong, Richardson was a wonderful Des Grieux; a slightly shaky start led to an absolutely heart-breaking finale and I can't wait to see how he develops. Hamilton is an absolutely phenomenal Manon, and I'm not sure anyone does Act III better. I do wish we could see more of her, and that she would get some classical principal roles - I would book her Odette in a heartbeat! Supporting cast also all extremely good, though unfortunately we had the same issue with the shorter Lescaut it didn't seem quite so noticeable as it has done previously. Hinkis brought personality to the Mistress and I felt Braendsrod has already improved enormously since his debut, he was very menacing. I must be in the minority in rather liking Christopher Saunders' GM, he's not as overtly gruesome as Avis' but I think he's all the more believable for that; he just seems to be a typical dirty rich old man, an awful everyman illustrating the fate of so many young women throughout history. I think that's something I take away from the best Manons, that she is just one of so very many - every woman that is at the brothel and who disembarks the ship has her own horror story of a man - or men - very like GM. Terrifying thought.

 

As it turns out, this was to be my final Manon this season and feel I've finished on a high. 

[ellyb]

Very reluctantly having to relinquish my ticket for Friday, if anyone's still looking - have listed it on ticket exchange forum. 

[MJW]

I would certainly echo many of the comments above regarding last night's performance. Despite a long day at work and suffering from a mild cold (I managed not to have a coughing fit or sneeze throughout) I so glad I decided to go ahead last night (having booked for this performance some time ago); partly as James Hay was performing but also having seen Calvin Richardson perform the bedroom scene in the Diamond Celebration in 2022 and having thought I good he was.

 

So glad the run seems to have sold so well (without the need for discounting) and that so many people have enjoyed the performances.

 

From last night:

 

https://www.instagram.com/p/C4K6Affo9lK/

[Scheherezade]

I came round to Calvin’s Des Grieux more slowly than others and, like JohnS, I liked Act 3 best, largely, I’d say, because I felt more of his personality came through, something that was missing for me in the earlier acts. 
 

I agree with Sim on his Act 3 partnering. Those double twists and the last minute catches as Melissa plunged head first to the ground were breathtaking and I felt that his hesitation and confusion on setting foot on Louisiana soil was perfectly judged, ditto the alarm and initial lack of comprehension as to what to do next on killing the gaoler. Here, as in the earlier acts, Melissa’s Manon was the primary moving force, which felt very much as it should be since her magnificent Manon was the author of her own destiny from her first steps down from the carriage in Act 1 to her defiant tussle with the gaoler in Act 3. More puppeteer than puppet, hers was a Manon who knew her worth, her power and what she wanted and who was prepared to do whatever it took to get it. A blazing independent spirit who wasn’t prepared to give up until her very last breath. 
 

This was James Hay’s first Lescaut for me and what a Lescaut! It was on another level and without doubt worth my ticket price - and the price of a far more expensive ticket - alone. 
 

And, yes, I was also impressed by Lukas BB’s gaoler. He is showing himself to be a fine actor, something that is always welcome. 

[Dawnstar]

I meant to say more about last night's performance sooner but I think by now most of what I was going to say has already been said, and doubtless much better, by others. I think the only point I was going to make that no-one else has (that I can see) was Manon's demeanour in the first scene. When she was supposed to be listening to the Old Gentleman's blandishments she already started to look bored & just before he took her over to sit down she was checking out GM in what looked like a calculating "Is he richer than this chap?" sort of way. Having Manon as well as Lescaut eyeing up GM & his wealth in the first scene made her succumbing to his fur coat & necklace in the second scene follow more coherently rather than seeming to come out of nowhere. She was also more obviously interested in Des Grieux in the first scene than many Manons, to the point that when he danced his solo it felt like he might not actually have needed to have done such a lengthy display since she was already pretty interested!

 

Also one more point on Richardson's Des Grieux: I found him very human. That probably sounds like a daft thing to say, but I mean that some Des Grieux can be a bit Romantic Hero stereotype whereas Richardson's seemed more like a fairly ordinary young man who got caught up in less ordinary events that he didn't always know how to deal with, or that he had to deal with by doing things that he didn't want to do. He looked utterly sick at having to cheat at cards and later having to kill the Gaoler.

[alison]

1 hour ago, Dawnstar said:

Also one more point on Richardson's Des Grieux: I found him very human. That probably sounds like a daft thing to say, but I mean that some Des Grieux can be a bit Romantic Hero stereotype whereas Richardson's seemed more like a fairly ordinary young man who got caught up in less ordinary events that he didn't always know how to deal with, or that he had to deal with by doing things that he didn't want to do. He looked utterly sick at having to cheat at cards and later having to kill the Gaoler.

 

I know exactly what you mean, Dawnstar - a very ordinary young man in some respects, caught up in things beyond his control.  And perhaps closer to the Des Grieux of the novel than many others?  I can't remember exactly.  But it was certainly a very impressive debut, especially for someone relatively inexperienced as yet.

[alison]

On 19/02/2024 at 00:22, alison said:

 

I thought Cuthbertson's dress looked rather over-populated on Wednesday.  When I compared it to Hayward's on Saturday, I realised that the former had a lot more gold "splodges" on it than the latter.

 

And Hamilton's one last night was different again.  So that's three different dress patterns, presumably dating from different times.  My bet would be that Hayward's was nearest to the original.

 

On 04/03/2024 at 10:36, PeterS said:

Alongside this I’ve always thought that Manon, Des Grieux, Lescaut & the mistress were dressed in black, gold & ivory in act 2 as a way of making them stand out from the crowd as they move around stage and easily identifiable as the central characters to the story.

 

Also, according to the insight evening which I'm finally catching up with, black was the most expensive dye, so I guess it shows that they've really "arrived".

[Roberta]

The final act rags for the various Manons are all different, with varying lengths and holes and patches.  

[Scheherezade]

7 hours ago, alison said:

Also, according to the insight evening which I'm finally catching up with, black was the most expensive dye

Well, who knew? I certainly didn’t. 

[alison]

7 hours ago, Roberta said:

The final act rags for the various Manons are all different, with varying lengths and holes and patches.  

 

Unsurprisingly   Plus, of course, she must shed a tier of the skirt between the Gaoler scene and the swamp scene.

[Roberta]

10 hours ago, alison said:

Also, according to the insight evening which I'm finally catching up with, black was the most expensive dye, so I guess it shows that they've really "arrived".

 

There was black and there was ... lesser black apparently.  https://costumehistorian.blogspot.com/2012/04/black-re-enactment-myths-and-realities.html

 

I do know purple was wildly expensive (sea snails) until the invention of chemical dye in the 19th century. https://exhibitions.kelsey.lsa.umich.edu/ancient-color/purple.php#:~:text=The Greeks called this region,a diamond engagement ring today.

 

"The vivid purple used in this parasol could not have been achieved without the advances in science and chemical dyes made during the mid-19th century. In the 1850s a young chemistry student William Henry Perkin accidentally discovered the purple dye as a by-product when experimenting with artificial formulas to make anti-malarial drugs. In the 1860s and 70s ladies fashions were made using brilliant colours and there was a craze for purple."  https://museumcrush.org/fashion-museum-bath-stories-from-the-19th-century-collection/

 

The costumes for the main characters are fascinating.  I wonder who decides on the designs and their differences, eg the different male coat embroidery, lining and waistcoat colours,  and how much gilding of Manon? 

 

 

[alison]

I imagine that Manon's dress depends on what fabric is available.  My guess is that Cuthbertson's is the newest of the ones I mentioned, but I could be wrong.

[Roberta]

I did wonder if the costume department actually does the gilding itself, and decided Lauren Cuthberston deserved more bling!

 

It's a huge shame that the curtain call photos taken by @Rob S can only show whatever a dancer appeared in last, as with Manon in her rags,  there are magnificent costumes made with skill, love and dedication I'd like to study in more detail. Lescaut, of course, gets to re-appear at the end in all his finery, expensive black dye, gold embroidery, silk waistcoat and lining, shoe buckles and all. Life's so unfair at times! (As indeed is death.) 

 

[DVDfan]

With regard to the people waiting on the dock in New Orleans, in the early days of European colonisation, the arrival of a ship from home was rather like the arrival of a new crew on the space station. So besides people whose duties require them to  be there, like the goaler who needs to receive the new convicts, anyone who could would turn out to see what the ship had brought.

I've always read it that in the ballet the ladies and gentlemen basically lead the other women convicts away to be servants, or simply out of compassion so that they can recover their health.

In reality as someone mentioned above, women were in short supply and thus of great value. Men would turn up on the dock in the hope of finding a wife. This was beautifully portrayed as a comic interlude in a TV version of Manon I saw many years ago, which included a strong suggestion that the women could make their own choice. I don't know about the French colonies, but certainly in the penal days in Australia, any woman convict who married was normally released from custody at the same time.

[Sophoife]

19 minutes ago, DVDfan said:

...but certainly in the penal days in Australia, any woman convict who married was normally released from custody at the same time.

 

NSW convict records have largely been destroyed, but the Tasmanian ones are still available.

 

Women were transported to Van Diemen's Land and, originally, largely sent straight out as domestic workers. Rape and assault was part of the deal - the ratio of men to women was about 9:1. If a woman stayed on the right side of authority she got a ticket of leave (more freedom) after about half her sentence time. Over time, policies changed, and this is a great quick summary of how it all worked.

 

The Female Factory mentioned is about ten minutes' stroll from my parents' home.

[Dawnstar]

2 hours ago, alison said:

I imagine that Manon's dress depends on what fabric is available.  My guess is that Cuthbertson's is the newest of the ones I mentioned, but I could be wrong.

 

Shouldn't hers be the oldest, given she's been dancing the role for the longest? (According to the ROH database Cuthbertson debuted in November 2011, Hamilton & Hayward both in September 2014.)

[Lizbie1]

@Dawnstar have I ever mentioned how much I appreciate your logical approach? It so often makes me think about things in a new way.

[Emeralds]

Just found out today is the "birthday" of this ballet-  Sir Kenneth MacMillan's Manon was premiered on 7 March 1974 at ROH! Looking good at 50 years young! 

 

For those who haven't visited ROH this season yet (or if you were in a hurry and missed the ground floor glass display cases opposite the coat check/cloakroom), if you're interested in the costumes after reading the discussion above ^^ the original costumes of Manon from the three acts of the ballet (apart from the bedroom nightdress and the "fur" coat) and the dress of Lescaut's Mistress from Act 2 are on display in the glass case with some production information and history. The costumes have been on display since August last year as 14 September 2023 was the 100th birthday anniversary of the late Nicholas Georgiadis who designed the ballet and also MacMillan's Romeo and Juliet, Mayerling, Danses Concertantes (which is being revived this month) as well as other works. (Georgiadis also designed a number of Nureyev's ballets, including his production of Don Quixote, which the Royal Ballet danced for a short period before commissioning a new one from Carlos Acosta-the one currently in the repertoire). 

 

Last night of the run of Manon. tomorrow (and also Alexander Campbell's farewell performance)!

Edited March 7 by Emeralds

[Dawnstar]

14 minutes ago, Emeralds said:

Just found out today is the "birthday" of this ballet-  Sir Kenneth MacMillan's Manon was premiered on 7 March 1974 at ROH!

 

I wonder why the schedule wasn't arranged so as to have a performance of Manon tonight then? Given there are 2 performances this week it presumably should have been possible.

 

Thanks @Lizbie1, though I'm not sure if it's logic or pedantry!

[Emeralds]

4 minutes ago, Dawnstar said:

 

I wonder why the schedule wasn't arranged so as to have a performance of Manon tonight then? 

Yes, they could have swapped Swan Lake and Manon around. 

[Mary]

I know they keep and cherish costumes for a long time but is it possible that sometimes they have to make a new one? There is so much lifting while she is wearing that dress, perhaps it gets more wear and tear than usual??

 

I once went on a backstage tour and the costumes dept. was the best bit- must do that again as you learn so much.

 

[Dawnstar]

As Cuthbertson's performances this run were only her 7th & 8th in the role (assuming nothing's missing from the ROH database) then it feels like general wear & tear shouldn't be a problem if her dress was new. Of course when she debuted she could have used an older dress that other dancers had used previously, in which case it wearing out could be more likely. I suppose what we need is to find photos of her 2011 debut & photos from this run to see if the dress looks the same!

[Dawnstar]

These are the only photos I can find of her in that dress. I think it looks the same but I'm not certain. Anyone else?

2011 run https://www.flickr.com/photos/royaloperahouse/6419002173/in/album-72157691182819572/

2019 run https://www.flickr.com/photos/royaloperahouse/49065383852/in/album-72157711190565203/

 

(Apologies for the double post. I tried to add to my previous post but I ran out of editing time.)

[Sim]

56 minutes ago, Dawnstar said:

 

I wonder why the schedule wasn't arranged so as to have a performance of Manon tonight then? Given there are 2 performances this week it presumably should have been possible.

 

Thanks @Lizbie1, though I'm not sure if it's logic or pedantry!

I was also wondering that.  Instead of two SLs in a row, why not have SL last night, Manon tonight to celebrate the 50th, and the second SL tomorrow night?  Very weird.