MANON

In the twenty years since the Australian Ballet danced Manon in Brisbane the company has gone from strength to strength, evidenced by the talent on display in this remounting of one of the most popular ballets in their repertoire.

The story of the virginal Manon who becomes a courtesan in 17^th Century France has enough drama and passion to fill any Mills and Boon novel, and with its debauchery, fetishism, and hints of incest, it could almost be accused of melodrama overkill.

Lucinda Dunn was a strong Manon, coquettish and flighty when she has the world at her feet, sensual in the bedroom, and pathetic and vulnerable in death. She handled MacMillan’s demanding technical requirements with skill. Adam Bull as the impoverished artist de Grieux was a believably besotted lover, passionate and tender, and danced with superb agility. Together their pas de deux’s were highlights.

In the hands of Andrew Killian, Manon’s pimping brother Lescaut was a roguish villain. In particular his humorous drunk dance was especially noticeable for its masterly control. Lana Jones’s flamboyant turn as his mistress added spice, whilst Julie da Costa was an authoritative Madam. Steven Heathcote, who played the Monsieur role in the 2008 production, returns to the part. It’s a fine portrayal of a man who’s complex, arrogant, cruel, and deviant in his sexual desires.

But whilst the story may descend to the gutter at times Massenet’s music lifts it time and time again. It’s a beautiful and engrossingly romantic score, and as played by the Queensland Symphony Orchestra under the baton of Nicolette Frailion, one of the jewels of this production. The others are Peter Farmer’s exquisite set and costumes design, and William Akers’ brilliant original lighting plot which has been effectively reproduced by Francis Croese.

Peter Pinne

Images: Lucinda Dunn and Adam Bull & Andrew Killian and Artists of The Australian Ballet in Manon. Photographer: David Kelly.