Manon, a West Coast Premiere, the Depth of Human Psychology Showcased in a Tragic Love Story
Jasmin Jamieson’s Manon moved like a butterfly in a sea of men full of desire of her; the dust from her wings sprinkled over and intoxicated them. A dramatic and heart wrenching love story unfolded on stage at the War Memorial Opera House on January 24 th . The west coast magnificent premiere of Manon by SF Ballet with a cast lead by Jasmin Jimison and Max Cauthorn, marked the 50 th anniversary of the ballet production of Manon which premiered at Royal Opera House in London in 1974, choreographed by Kenneth MacMillan to music composed by Jules Massenet.
Manon is based on Manon Lescaut, a novel published in Paris in 1731 by Abbé Prévost. Monon, a young girl from poverty, is on her way to enter a convent but instead convinced by her brother Lescaut to become a courtesan for older wealthy men to satisfy her desire for luxury and escape poverty. However, at the same time, she falls in love with a young philosophy student Des Grieux who is from a noble family but with his inheritance stripped by his disappointed father for running away with Manon. Manon follows her brother’s lead and juggles among wealthy men and particularly falls for Monsieur G.M.’s extravagant lures of jewels and fur. Des Crieux desperately wants to secure Manon’s love by satisfying her material desires, resorting to borrowing money and cheating gamblers. Manon struggles between her love for Des Crieux and Monsieur G.M.’s promise for a wealthy life. Eventually, Manon and Des Crieux’ affair is discovered by Monsieur G.M. and they get caught in their cheating scheme in a card game fixed by Lescaut. Monsieur G.M. kills Lescaut and has Manon sent to exile to New Orleans as a prostitute. Des Grieux accompanies Manon in the deportation as a pretended husband but only to encounter another fatal confrontation with a heinous gaoler who forces himself on Manon. Des Grieux stabs the gaoler to death and takes Manon to escape into the swamp of Luisiana. Manon dies in Des Grieux’ arms.
The plot runs 2 hours and 39 minutes with three acts and an intermission in between each act. It is long and full of tumultuous and heart wrenching moments. In Act I, the blinding love between Manon and Des Grieux is in full portrayal in a smooth flow bedroom pas de deux by Jimison and Cauthorn. The on-stage chemistry is apparent between Jimison and Cauthorn. the passion, the playfulness and the sensuality are infectious; I am convinced they fall in love within the first five minutes. In Act II, Manon dazzles among the wealthy men like a butterfly; Jamison’s technical precision enables such a flawless execution. She again convinces the audience with Manon’s true inner struggle with the lure of the wealth and the seemingly impending escape from poverty to a material world she longs to indulge in. Entering Act III, a broken Manon’s anguish fully demonstrates in her broken and stumbling moves across the stage like a withering leaf shaking in a chilling wind, heartbreaking to watch. The swamp pas de deux showcases a tragic and devastating ending with Manon giving up in a life that has had its inherent tumulus inner struggles and pursuits.
A special highlight is the Lescault pas de deux in Act 2 by a drunk Lescault (Cavan Conley) and his mistress (Frances Chung). It has the funny moments that bring some lighthearted touches to an otherwise dramatically heart wrenching story. The technical execution by both Conley and Chung are pleasant to watch.
What is particularly mesmerizing is the rich history of the costumes and sets which are the original made for the Royal Ballet by Nicholas Georgladis half a century ago. Several of ballet’s biggest names in history
are sewn in the costume and readily recognizable, including SF Ballet’s Creative Director Tamara Rojo who carried the lead role of Manon at the Royal Ballet. It must have felt as an honor to step into the history and wear the original costume years or decades later. The costumes fully showcase backdrop of the story, the 18 th century Franch social scenes. From rags to riches, each and every character has a costume distinctively demonstrating the contrast between poverty and wealth. Manon enters the three acts of storytelling via her costumes. In Act I, the whites Manon wears symbolize the purity and innocence of youthful love but alludes to the tragedy that is soon to unfold. In Act II, Manon changes into embellished dresses in lace, beading, organza, silk and lavishing fur, layered with dazzling jewelry; she indulges in extravagance and opulence. Finally in Act III, Manon goes to rags and everything changes. Color turns somber, fabric frayed, body and spirit broken. She enters the final stage in suffering and anguish, physically and emotionally.
SF Ballet’s first adaptation of Manon by Kenneth MacMillan is breathtaking to watch. January 24 to Feburary 1, San Francisco Ballet, War Memorial Opera House.