Manon is 40 years old. Incredible. It is as fresh today under its present cast, Marianela Nunez and Federico Bonelli, and over the four decades has been a regular feature in the Royal Ballet repertoire. It is a modern classic offering spectacular principal roles with breath-taking pas de deux. Manon's allure of money is undermined by Des Grieux's steadfast love for her; both are compromised by her brother's ruthless deals. This is eighteenth century, pre-revolutionary Paris, where the pimp and the player trade cards, dice and people. Perhaps it was the appearance of Nicholas Georgiadis' design with John B Read's sumptuous lighting or Macmillian's creative spirit, but something special happened on Thursday night. The chemistry between Nunez and Bonelli was stunning, while Macmillan's choreography as she is man-handled, feet hardly touching the floor, in Act 2 is a study in brutal dance poetry. Yet the ballet's structure is pure nineteenth century. Manon a study in lust, greed and redemption fuses the modern and the traditional. And when the dancing is this good, the price is worth paying.
No comments:
Post a Comment