Manon
In September the dance community lost Australian Ballet founding member Colin Peasley OAM. Creative Director David Hallberg started tonight’s performance by recognizing Peasley’s contribution to dance and dedicating this season of Manon to him and his long lasting legacy to Australian Dance.
It’s been over a decade since Manon has been staged in Australia and 50 years since it was choreographed by Kenneth MacMillan. Manon, like so many narrative ballets have not aged well in some respects. In this story, the young Manon (Robyn Hendricks) is on her way to join a convent when she meets the young des Grieux (Callum Linnane). A plan is hatched for Manon to steal money from the old man who is entranced by her, and to run away with des Grieux. It won’t be long, however, before Manon is seduced by fine jewels and clothes to ditch poor des Grieux and take up with Monsieur G.M. (Adam Bull). So here, again, we have a female lead who is at best feckless and at worst being prostituted by her brother Lescaut (Maxim Zenin). There is a lack of respect for women shown in the stories of ballet, and the Australian Ballet seems to be particularly interested in ballet’s where women are abused (Oscar, Najinsky, Carmen, Manon). There must be stories of triumph for women and I implore David Hallberg to look for them when programming for the Australian Ballet.
Peter Farmer’s sets and costumes are lush and give the ballet a sense of grandeur which has been hard for the company to achieve since it moved out of its State Theatre home. In this regard Manon is giving the audience what they want – a narrative ballet which, whilst dealing with adult themes, is not as confronting or graphic as Carmen. Lescaut’s Mistress (Isobelle Dashwood), unfortunately does not even rate a name, although she presents some of the most enticing moments of the night.
Hendricks portrays Manon with exacting precision. She moves through flirtatious to glamours and eventually reckless and miserable with ease, showing her spectacular lines and years of expert practice. Linnane once again provides us with a flawless performance and has grown considerably in terms of his acting ability. This maturity shows as each pas de deux becomes more and more intense. Despite the questionable subject manner, Manon was definitely one of the best narrative ballets the Australian Ballet have produced of late. Yes, there are adult themes, but slightly younger audiences may be able to enjoy the dancing for what it is – beautifully executed.
L.B.Bermingham
Photographer: Kate Longley
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