(seen at the afternoon performance on 3rd February 2024)
The first time the monkey encountered the late Sir Kenneth MacMillan’s work was at the opening night of the celebrated National Theatre revival of “Carousel” in December 1992. Mesmerising, unforgettable and (according to its companions that evening) worrying for them as the monkey was concentrating so hard they thought it had slipped into some sort of catatonic trance.
Had they been there this afternoon, they may have experienced Deja-vu.
Both readers will recall that ballet is a bit of a return for the monkey after too many years. “The Nutcracker” in December 2023 was a highlight of last year. Its ballet-fanatical friend suggesting this a suitable follow-up, a lucky cancellation of other plans allowed it to happen.
Once again this is as much about the experience as the performance. Grace of movement and beauty of execution assumed - and something the monkey would never presume to be particularly knowledgeable about. So, sharing its observations...
First, anyone else considering taking the plunge but worrying they won’t follow the fairly involved story: don’t panic. The pre-show synopsis is clear and easy to remember. True, it could go into a little more detail as there are a few unexpected moments it doesn't mention, but it is impossible to lose your way, it really is.
The costumes (Nicholas Georgiadis) then assist admirably in distinguishing the characters. Bold so that, even if you cannot see faces, colours and designs will “read” from the very back to ensure you know just who is who... and exactly what they are getting up to (don't ask at times, just don't ask).
Once past that, the expressiveness of movement spells out every thought and emotion for the rest of the work. You will feel what they are feeling, know when someone is in a literal spin of confusion, joy and ultimately heartbreak as the curtains sweep together for the final time.
The leading roles of Manon (Natalia Osipova) and Des Grieux (Reece Clarke) at this performance seemed in perfect tune.
Strikingly tall Clarke seems to take full advantage of Osipova’s clearly physically strong body and aggressive dance technique to achieve sequences of stunning lifts – a particularly breathtaking set of “flips” in the third act a highlight.
Their final moments are devastating. As memories play out behind them before grey overtakes they finish a couple lost... yet together evermore.
Other principal characters made equal impact. Brother (and, frankly, pimp) to Manon, Alexander Campbell’s Lescaut descends into louche. His drunken antics in act two suggest it worth learning ballet so as to know how to fall safely when intoxicated.
As Monsieur G.M. Gary Avis wields a cane with abandon, striking out at anyone displeasing him and wrapping Manon in mind-changing wealth. The temptation he proffers is all too real, leading overheard departing audience members to rightly label Monsieur “repellent” (in the nicest possible way).
Going even further, Lukas B. Braendstrod’s Gaoler is a rapist. MacMillan’s finest and most horrifying sequence takes place centre stage, is brief and concludes with a dismissive shove. Braendstrod’s skill in expressing lechery is compelling, his victim's destruction heartbreaking.
In smaller moments, Mayara Magri’s Mistress, Elizabeth McGorian’s Madame and Taisuke Nakao’s Beggar Chief have stories taking place around and between the main action. Each adds enormous depth to the work, taking their moments to engage us more fully in the world they inhabit.
From the ensemble, the rather enthusiastic prostitutes are amusing, and some will not take “no” for an answer either. Others, frankly, well, you wonder if the wings are policed as they exit?
Massenet’s music rises taunt and lavish from the orchestra under Koen Kessels, completing a dark, richly satisfying visual and emotional experience.
The monkey only hopes now that MacMillan’s equally admired “Romeo and Juliet” will be revived some season soon. It will be there when it is.
5 stars.
Photographs of Manon (Natalia Osipova) and Des Grieux (Reece Clarke) by kind permission of the Royal Opera House.