Manon, Royal Ballet Winter 2024

[Linnzi5]

As @bridiem wrote everything I would have wanted to say but would have been unable to express about Yasmine and, particularly, William tonight - my thoughts will be more focused on not waxing lyrical about Yasmine and William for too long - I just can't top what bridiem said.

 

I loved it all but definitely felt both Yasmine and William really made their special connection in Act II and then it was off the scale in the final act. They were sublime and it was heartbreaking. I love William's dancing and I wasn't disappointed at all - he was sublime.

 

I did feel there was a very slight caution at the beginning of Act I because it was both his and Yasmine's debuts - dancing was still beautiful though (those arabesques!!!). His vulnerability is so perfect and I believed he loved Manon so much. Yasmine was truly wonderful. I've not had a chance to see her in this sort of role and she came into her own. She has a wonderful, classical technique but how wonderful for me to see her brilliant acting tonight! Her Manon was a tease and shallow at times, but a woman driven to make choices I believe she didn't really want to as she was so attracted to the wealth offered to her. I did believe she loved Des Grieux, yes, but she wasted what they could have had and came to realise that. 

 

Luca Acri was a wonderful Lescaut - his drunken scene was fabulous. Anna Rose O'Sullivan was very good too, though The Mistress's role is a somewhat strange one for me. 

 

Gary Avis. He is like Samuel L.Jackson - he is totally different in each role he plays!  I knew he was the gaoler, but when he first came on stage, I thought, 'Oh. It's not him!' Then I realised it was. His character was utterly vile and he did brilliantly to make me believe that as he's such a nice man in real life! 

 

Corps were on top form, the orchestra wonderful but I struggled to recognise some of the dancers - they were all excellent too.

 

Such an emotive performance.

 

It was lovely to meet up with forum members - both new and old  

 

Roll on 3rd February! 

[Linnzi5]

47 minutes ago, Rob S said:

Thank you, the best of a limited bunch tonight thanks to the standing ovation 🫣

Yes. That did somewhat affect my ability to take photos, but if I'm honest, not that much! I was thrilled for both Yasmine and William that they got the standing ovation - they really deserved it.

[Roberta]

7 minutes ago, Linnzi5 said:

Her Manon was a tease and shallow at times, but a woman driven to make choices I believe she didn't really want to as she was so attracted to the wealth offered to her

 

I keep going back to the 'official' MacMillan site for clarification and illumination.

 

MacMillan was quoted as saying that he found his clue to Manon’s behaviour in her background of poverty: ‘Manon is not so much afraid of being poor as ashamed of being poor. Poverty in that period was the equivalent of long, slow death’. 

 

 

[Agatha]

What fantastic reviews! I can’t wait to see Yasmine and Will on the 3rd. 

Edited January 21 by Agatha

[Anna C]

8 hours ago, MAB said:

Likewise  Manon is a conniving venal character, not an innocent victim.

In the original novel, isn’t Manon 15 years old when Des Grieux first meets her?  If so, I can’t agree that she’s anything *but* an innocent victim.

[Silver Capricorn]

18 minutes ago, Anna C said:

In the original novel, isn’t Manon 15 years old when Des Grieux first meets her?  If so, I can’t agree that she’s anything *but* an innocent victim.

According to Abbé Prévost, the Knight Des Grieux was 17 years old when he first met Manon, she was a little younger, but according to him much more experienced.  She was on her way to the convent, where her parents had sent her to put an end to her love of pleasure.

[zxDaveM]

Finally I get to see Yasmine Naghdi's Manon - for me, years and years overdue! And to see her dance with such marvelous partner in William Bracewell was an added bonus.

Will's opening courtyard solo was rather good, no wonder his Manon was duly smitten; their first pdd filled with beautifully danced steps, and no little ardour. As an aside, good to see Chisato Katsura (as one of the dueling courtesans) slowly getting back into meatier roles.

The ensuing bedroom pdd was a thrilling watch - but once Des Grieux had slipped out to be surplanted by her brother Lescaux (splendidly portrayed by Luca Acri) 'pimping' her out to the overly entitled M GM (a sinister Thomas Whitehead) and his pots of cash and jewels and fine clothes. The mask of Manon's loved-up joy slipped as we could visibly see her, as GM's jewels caressed her throat, exchange love's bright and fragile glow, for the glitter and the rouge. After a brief tinge of regret whilst examining the bed where they had once lain, off she went with GM on a cloud of anticipated wealth and finery. The expressions on Yasmine's face as this unfolded were gripping. Seeing her sweep into the brothel party in act 2, that wealth and a sense of her own worth until she spotted Des Grieux and the underlying insecurity briefly slipped out - a picture writing a thousand words. Succumbing to the heart rather than the wallet (though some ill gotten gains from the card table may have helped) the pair fled to the bedroom of his lodgings again, where the pdd (which we saw Laura Morera coaching them recently) was heartfelt and utterly engrossing to watch.

Act 3 normally a bit of an ordeal to watch for me - and until they flee to the swamp after seeing off the vile gaoler (the ever masterful Gary Avis). No different this time, but worth the setup for the emotionally wringing pdd for Yasmine and Will, as Manon inevitably dies in the poverty and misery she had so dreaded, that had set her on this path to doom

In short, marvlous night, and I'm really sad I will miss their next performance

[art_enthusiast]

9 hours ago, MAB said:

I was comparing it with Massenet's opera.  It is an incredibly powerful scene.

Seeing the ballet has made me want to see the opera as well, although I believe the music is different? I adore the arrangement of Massenet’s music in the ballet. Perfectly done.

 

I have to say, I really don’t see Manon as a villainous character. She’s 16 apparently, only 2 years older than Juliet is supposed to be… I haven’t read the official story, but not sure if she has left a convent or about to go in one? I had the impression she had just left.

 

Being fearful of poverty and having to do whatever you can to avoid it is hardly a radical concept, you have people forced into doing similar things today, unfortunately.

[Suffolkgal]

Hilariously while doing a bit of digging about the original story, inspired by my forum peers, I saw it described as a novel about two randy teenagers! Thank God for MacMillan…

[art_enthusiast]

11 hours ago, Mary said:

I have never really liked the ballet, mainly because I greatly dislike the brothel scene - especially the attempts at presenting some very nasty situations as glamorous and humorous, which  I think are, at best, in poor taste.

- but we've discussed all that before in previous runs so I won't start that again.

I agree that parts of it are a bit disturbing to watch (this is my first year seeing the RB perform it). I also didn’t like the prostitute scenes in Mayerling. Though I guess humour is the only option for such disturbing subject matter, and it certainly provides more parts for more company members to be involved.

[Sim]

21 minutes ago, art_enthusiast said:

Seeing the ballet has made me want to see the opera as well, although I believe the music is different? I adore the arrangement of Massenet’s music in the ballet. Perfectly done.

 

I have to say, I really don’t see Manon as a villainous character. She’s 16 apparently, only 2 years older than Juliet is supposed to be… I haven’t read the official story, but not sure if she has left a convent or about to go in one? I had the impression she had just left.

 

Being fearful of poverty and having to do whatever you can to avoid it is hardly a radical concept, you have people forced into doing similar things today, unfortunately.

She has been sent to a convent by her parents as they could already see the direction she was heading for…

[Linnzi5]

One thing I didn't report on was the Packing/Bracelet PDD. Wow! It was simply gorgeous and all that Laura had suggested was there for all to see.  So interesting to see the rehearsal and then the finished, polished product.

 

I'm still left in awe of the final PDD in Act III - I just can't really believe how wonderful (and heartbreaking) it all was.  

 

 

[San Perregrino]

39 minutes ago, Suffolkgal said:

Hilariously while doing a bit of digging about the original story, inspired by my forum peers, I saw it described as a novel about two randy teenagers! Thank God for MacMillan…

same plot as Romeo & Juliet then?

[JennyTaylor]

I've been counting down to this performance and it didn't disappoint.  Far from it, in fact I'd say it was one of the best Manon's I've ever seen with Yasmine and Will giving us a phenomenal debuts.  As other members have mentioned the depth of their characterisation really took hold in Acts 2 and 3.  I was lucky to be near the stage so could see every expression and to watch Will even in the passive moments of Act 2 when he is circling the back of the stage was incredible.  I've never seen so many facial expressions, so many little gestures from any other DG. He talks too, with the courtesans at the entrance scene whilst watching a drunken Lescaut - fascinating, but all making the character so realistic.  He just lived the part and as for that solo in Act 2, culminating in him throwing himself at Manon's feet - well, I think I gasped audibly.   I can see why Will is compared to Anthony Dowell (who I have only seen on video). The grace, beauty and purity of his solos was an absolute joy to watch.  

 

I love to watch the different Manon interpretations and Yasmine was fascinating.  There was significant recognition at the opening of the brothel scene (Lauren I don't think does this to such an extent), and there was just a few little gestures over by the card table which showed she didn't really like MGM.  I was beguiled by James Hay as it was the first time I've seen him do this role close to, and he was having a ball! 

 

I feel Luca Acri has really grown into the role of Lescaut and again, very significant acting skills from him and excellent dancing, of course. I also felt Anna-Rose really took to the role of the Mistress and was impressed with the way she imposed herself on the ballet.  

 

So, for me, this performance was on another plane.  Can't wait for February 3rd. 

[Silke H]

12 hours ago, Suffolkgal said:

I hope someone got a picture of them in each others arms at the first curtain call. Mainly because I saw it through weepy eyes but also because I had to tank it for the train. 

More here:

 

Facebook album

 

IG 20 Jan Naghdi, Bracewell

 

IG 19 Jan Cuthbertson, Ball

[Anna C]

3 hours ago, Silver Capricorn said:

According to Abbé Prévost, the Knight Des Grieux was 17 years old when he first met Manon, she was a little younger, but according to him much more experienced.  She was on her way to the convent, where her parents had sent her to put an end to her love of pleasure.

So still probably no older than 16 then - and isn’t Des Grieux the narrator?  Possibly not the most unbiased or reliable narrator, being a man.  
 

I’m glad MacMillan gives us a more romantic portrayal of DG, and I wouldn’t change anything about the ballet, but it’s a little disappointing to see Manon still being described reductively as a slut/conniving and so on, given her age and that the whole story was originally told from a man’s point of view.

[Richard LH]

9 minutes ago, JennyTaylor said:

I was lucky to be near the stage so could see every expression and to watch Will even in the passive moments of Act 2 when he is circling the back of the stage was incredible. 

We were also near the stage ....almost as close to the  stage as possible I think (front right hand side SC) and I very much agree.... being  able to see their expressions helped make Yasmine and William's  artistry and storytelling come to life so much. Beautiful, emotional dancing, and I don't think they put a step wrong. 

Act 3 was particularly incredible I thought...Yasmine seemed so broken on her arrival at the port, it was heart rending...

The only part I didn't really appreciate  was the Gaoler scene...some of the elements seem gratuitous  and perhaps could be  toned down without losing the gist of the story...provided what is happening  is clear  enough to enrage  Des Grieux in his defence of Manon.

The final PDD was electric....how did they manage Yasmine's lightning fast aerial full body twists? And she showed so much confidence In William, in starting to fall towards the stage well before he was close by to catch her.

I thought we were going to see the first major RB production I can remember where the lead ballerina didn't receive flowers (which would have been a travesty!) but fortunately a bouquet arrived for Yasmine just in time for her to share a flower with William as well as Luca Acri (a brilliant Lescaut).

Overall this is a fabulously staged  production, with all the cast on top form.....the whole company now have a well-earned mid-season break. Looking forward to seeing two other casts later on....

[Linnzi5]

39 minutes ago, JennyTaylor said:

I was beguiled by James Hay as it was the first time I've seen him do this role close to, and he was having a ball! 

Yes! I forgot to mention him -  he was as entertaining as always! Lovely to see him back.

39 minutes ago, JennyTaylor said:

 

I feel Luca Acri has really grown into the role of Lescaut and again, very significant acting skills from him and excellent dancing, of course.

I thought he was brilliant. He surprised me as he's such a likeable dancer and Lescaut, though amusing in places, was just a pretty amoral character.

39 minutes ago, JennyTaylor said:

 

I also felt Anna-Rose really took to the role of the Mistress and was impressed with the way she imposed herself on the ballet.  

She surprised me. Though I do think the role is somewhat superfluous (I can see it's there for entertainment purposes but it is rather underdeveloped), I thought Anna Rose showed not only technical prowess, but also excellent comedic acting skills. She impressed me. 

39 minutes ago, JennyTaylor said:

 

So, for me, this performance was on another plane.  Can't wait for February 3rd. 

For me, Act II and III were out of this world. Act I was beautiful, but it was in the latter two acts that I  felt sucker punched, particularly Act III. I am still feeling emotional today! Yes. I can't wait for 3rd February  

[Linnzi5]

10 minutes ago, Anna C said:

So still probably no older than 16 then - and isn’t Des Grieux the narrator?  Possibly not the most unbiased or reliable narrator, being a man.  
 

I’m glad MacMillan gives us a more romantic portrayal of DG, and I wouldn’t change anything about the ballet, but it’s a little disappointing to see Manon still being described reductively as a slut/conniving and so on, given her age and that the whole story was originally told from a man’s point of view.

I didn't see her that way. Though I felt heartbroken for DG, I never disliked Manon or blamed her - in a way, she was a victim of her circumstances.  I felt she was a flawed character, mostly because of her poverty and her horrible brother and she was coerced to play 'the game' and she did it well. Yes, she is immature, a little shallow and attracted to wealth but last night, In Yasmine's face, I could see Manon was unhappy with what she was doing - I could see little bits of regret when she saw DG at the brothel. She clearly is a great beauty and being so poor, I'm afraid it's totally plausible to me that certain types of men (whether her brother or Monsieur GM etc.) would exploit and take advantage of that. I think she was desperate and never quite realised the potential consequences of all of their actions. To me, that's what made it all so much sadder. 

[Linnzi5]

24 minutes ago, Richard LH said:

We were also near the stage ....almost as close to the  stage as possible I think (front right hand side SC) and I very much agree.... being  able to see their expressions helped make Yasmine and William's  artistry and storytelling come to life so much. Beautiful, emotional dancing, and I don't think they put a step wrong. 

I agree that their dancing was so full of emotion and I totally believed it. Act III was so incredibly sad and I think they both took their characters on an amazing journey. The fact that I felt so invested in both characters means that they inhabited those characters so well.

24 minutes ago, Richard LH said:

Act 3 was particularly incredible I thought...Yasmine seemed so broken on her arrival at the port, it was heart rending...

It really was.

24 minutes ago, Richard LH said:

The only part I didn't really appreciate  was the Gaoler scene...some of the elements seem gratuitous  and perhaps could be  toned down without losing the gist of the story...provided what is happening  is clear  enough to enrage  Des Grieux in his defence of Manon.

I can see what you're saying. A few people around me seemed a little surprised from the gasps I heard. However, though it was vile and disturbing watching the violation of Manon, I did feel it made DG's response understandable. I'm not sure I would have believed he would have been so driven to do what he did otherwise. It was shocking to see though. 

24 minutes ago, Richard LH said:

The final PDD was electric....how did they manage Yasmine's lightning fast aerial full body twists?

Yes! I want to know how on Earth she did those (I'm sure that other dancers do the same beautifully too). But I was left thinking - how is that achieved? Hopefully, somebody with knowledge here can tell me! 

24 minutes ago, Richard LH said:

 

And she showed so much confidence In William, in starting to fall towards the stage well before he was close by to catch her.

Yes.  Having seen the clip linked on here of Kobborg and Cojocaru further back in this thread, I had my heart in my mouth at that bit! I felt William and Yasmine really pushed that as far as possible. Yasmine must have had such faith in many places as she was thrown about such a lot! 

24 minutes ago, Richard LH said:

I thought we were going to see the first major RB production I can remember where the lead ballerina didn't receive flowers (which would have been a travesty!) but fortunately a bouquet arrived for Yasmine just in time for her to share a flower with William as well as Luca Acri (a brilliant Lescaut).

I felt the same and was so pleased when some arrived.

24 minutes ago, Richard LH said:

Overall this is a fabulously staged  production, with all the cast on top form.....the whole company now have a well-earned mid-season break. Looking forward to seeing two other casts later on....

Yes, I agree.  I have Naghdi/Bracewell again, Osipova/Clarke and Kaneko/Muntagirov, though I believe only Fumi is making a debut? 

[Sim]

I have heard that there were bouquets of flowers backstage, but that no ushers were around to distribute them onstage.  So, no debut photos for Will, Yasmine and Anna-Rose surrounded by bouquets.  That's why the stage manager had to dash in front of the curtain to give Yasmine one of her bouquets.  For a triple debut night, I think it is very, very poor not to have had anyone at all able to take some bouquets onto the stage.  

[Sim]

Just now, Linnzi5 said:

I felt the same and was so pleased when some arrived.

Yes, I agree.  I have Naghdi/Bracewell again, Osipova/Clarke and Kaneko/Muntagirov, though I believe only Fumi is making a debut? 

Yes, Fumi is the only one left to debut in this run.  I guess in three years it will be Mayara and Anna-Rose's turn.

[bridiem]

3 minutes ago, Sim said:

I have heard that there were bouquets of flowers backstage, but that no ushers were around to distribute then onstage.  So, no debut photos for Will, Yasmine and Anna-Rose surrounded by bouquets.  That's why the stage manager had to dash in front of the curtain to give Yasmine one of her bouquets.  For a triple debut night, I think it is very, very poor not to have had anyone at all able to take some bouquets onto the stage.  

 

That's ridiculous. Surely anyone could have done it!

[balletyas]

7 minutes ago, bridiem said:

 

That's ridiculous. Surely anyone could have done it!

Yes indeed!

[Sim]

I was going to write about last night, but others have just about said it all, so I will catch my breath and write a few words after the February 3rd performance.     I will just say that one of the many reasons this was such a moving performance was the clarity from both Will and Yasmine of what was going on in their heads, hearts and souls...and that made the final tragedy so heartbreaking:  none of their hopes had any chance of coming to pass, and their realisation of that in the final pdd almost 'cleft my heart in two'.  Wonderful.    

 

[Sim]

9 minutes ago, bridiem said:

 

That's ridiculous. Surely anyone could have done it!

That's what I thought.  I would have gladly done it.  

[Anna C]

Mixed feelings reading everyone’s excellently descriptive reviews of Naghdi and Bracewell’s debuts - delight for them and for all of you who got to watch, sadness that I won’t get to see them, and disappointment that they haven’t been given the live stream this time.

 

Let’s hope that Kevin O’Hare casts them together again in 3 years time.

[JohnS]

14 minutes ago, bridiem said:

 

That's ridiculous. Surely anyone could have done it!

 
It does seem so very odd that front of house staff weren’t able to present flowers - I’m sure there’d have been multiple volunteers in the audience.

 

Wonderful to see all the posts and photos and so looking forward to 3rd Feb and chance to see this cast.

[Roberta]

I think the dancing harlots, drunken dance, the role of Mistress in 'Madame X’s hotel particulier* where every woman is for sale', where fornication, drinking and high stakes gambling were all provided for gentlemen of large means and low morals in an upmarket setting was in part MacMillan's attempt to fit Manon into the three act traditional ballet format. It was the divertissement element, entertainment for the audience, not really meant as plot and character development.  Also of course, these dances give the spotlight to  higher ranking dancers in the company. The art of choreography for a large company has many constraints. 

 

See also @Sophoife post way back in this thread which describes what many would consider the sordid tastes of some and how poor young women were too often used, abused then discarded.  There was no safety net, no welfare state. The lucky ones worked in the more upmarket establishments such as this. Disease, pregnancy, age meant a constant supply of fresh young women had to be sourced. Virgins were highly prized.  Prostitution was illegal, which is why Manon was arrested.  Certain high level establishments had the protection of the very wealthy and influential who enjoyed all they offered.  This was an orgy in reality, dressed in finery. MacMillan did attempt to move the artform onwards, and, at times, upwards. 

 

Watch Deborah MacMillan describe how Kenneth MacMillan was badly affected by the criticism of Anastasia, and tailored Manon accordingly. He really was not adored by all fifty years ago.  Critics were frequently brutal. Ballet was still considered by many as a pretty entertainment, a nice night out at the Opera House.  https://www.kennethmacmillan.com/new-page-97 

 

(*London also had similar architecturally significant large townhouses in their own grounds owned by the fabulously wealthy, who also had even more splendid country mansions; a few of these townhouses survive.  Not all, of course, were used as brothels, gaming hells, drinking clubs, certainly some were. It was how life was lived by many. See also De Valois' Rake's Progress.) 

Edited January 21 by Roberta

[balletfanatic]

I was also at the performance last night and loved every minute. I think I forgot to breath in act 3, it was so tense, daring, dramatic, heart rending. It was so hard to believe it was their debut performances.  I also wondered about the aerial twists. How do they train to do these? It reminded me of some of the lifts/throws you see in ice skating pairs but probably not a normal lift for ballet - or not something I remember seeing in other ballets anyway. It must take absolute trust to pull them off.  I was also astonished at the lack of bouquets - I've never seen that before at the ROH.  There may be flaws in the ballet but overall it's a work of genius - there is surely no living choreographer with the talent of MacMillan.

[capybara]

54 minutes ago, Sim said:

I have heard that there were bouquets of flowers backstage, but that no ushers were around to distribute them onstage.  So, no debut photos for Will, Yasmine and Anna-Rose surrounded by bouquets.  That's why the stage manager had to dash in front of the curtain to give Yasmine one of her bouquets.  For a triple debut night, I think it is very, very poor not to have had anyone at all able to take some bouquets onto the stage.  

I didn’t want to interrupt the reviews by referring to the situation with the flowers (or, rather, their absence); but, since others have…….
I felt really disappointed for the dancers as being surrounded by bouquets is part of the ballet tradition, especially for debuts. But there would also have been fans who would have appreciated seeing their tributes presented and having, perhaps, a personalised photographic record from a simply wonderful night.

I did wonder whether the single armful of white roses might have had something to do with the ballet’s anniversary but, alas, the departure from the norm was borne of inexcusable inefficiency. 
 

(‘Proper’ comment to follow - maybe after 3rd Feb. because there is so much to try to do justice to and I’ve booked for Giselle this afternoon!)

 

 

Edited January 21 by capybara

[BeauxArts]

Still reflecting on last night's double debut, but wanted to add to the plaudits for William Bracewell: I have possibly never seen such an accomplished debut as Des Grieux. The sheer beauty of his dancing, his command of the technical challenges and astute approach to those elements possibly not as well suited to him, combined with such a thoughtful reading of this complex role, AND his incredible partnering not least in that really risky last act pdd (we can now see his sprint speed from a standing start) were just some of the highpoints for me. Watching him, confirmed for me that he is in his prime. He is ready for Mayerling (probably ready last season), and should be dancing it asap. The 3-season rotation of the MacMillan triumvirate needs reviewing at the point, when the company has such strength in depth among the male principals and soloists in particular. 

I have been been watching the MacMillan Three for many years, and the longeurs and - frankly - the crassness of the scenes involving harlots/prostitutes/courtesans have never improved for me. The gaoler scene is also a difficult passage to watch: I rather think less is more from the male lead there. 

[Roberta]

2 minutes ago, balletfanatic said:

It reminded me of some of the lifts/throws you see in ice skating pairs but probably not a normal lift for ballet

 

See Deborah MacMillan describing how obsessed with ice skating Kenneth MacMillan was at the time, hence many moves and slides which he based on skating technique.