When 16-year-old Manon first stepped from her coach into the courtyard at the inn, she seemed overwhelmed by the size of her own hat — a round, huge-brimmed affair with long, showy ribbons tied stylishly in a bow under her young chin. The hat began to slide off the back of her head prompting Manon to pull it back into place with an awkward tug. After greeting her older brother, Lescaut, she walked off to the side to remove the hat but fumbled again momentarily with its showy ribbons. The hat might have been a luxury item that this under-financed Manon had acquired but didn’t quite know how to control. In fact, it was Manon’s lack of control over her fondness for the pretty things, her passion and sensuality, and her adolescent amorality that prompted her father to send her off to the Catholic convent.
But for that one brief stop to say hello to her brother at the start of her journey, Manon might have ended up being veiled, converted, and saved from herself. And oh what a loss that would have been for those of us who would have been denied the spectacular Act III pas de deux of Sarah Lane and Herman Cornejo in their debuts as Manon Lescaut and Chevalier Des Grieux on Wednesday evening. The extent to which both artists gave themselves over to their roles and to one another even surprised those who have long championed them. Sarah’s absolute trust in Herman allowed her the freedom to “die” with the utmost daring leaps into Herman’s arms and blind falls that required blind faith that he would be there to catch her. At one of the many climactic moments, Manon raced aimlessly in a circle while the music raced up the scale after her. She perilously threw herself into an unsurvivable arabesque before being caught from behind right as the cymbals crashed just as she would have crashed to the ground had it not been for Des Grieux’s heroics. Herman has never combined the intensity of theater and the brilliance of his dancing the way he did in this pas de deux. His Des Grieux was on the brink of collapse throughout — his own desperate life spiraling out of control as he spun Manon high into the air and grabbed her back again. This five minutes on Wednesday night will be the highlight of ABT’s entire Met Season.
Kenneth MacMillan’s masterpiece is longer than five minutes, though. Prior to arriving in Act III, we had to immerse ourselves in Acts I and II. They weren’t bad, and they will certainly become better as the principals get more performances under their belts — but can we actually count on that considering how ABT is functioning in these times?
Overall in Acts I & II, ABT was like Julie Andrews singing:
Getting to know you
Getting to know all about you
Getting to like you
Getting to hope you like me
Getting to know all about you
Getting to like you
Getting to hope you like me
Getting to know you
Putting it my way
But nicely
You are precisely
My cup of tea
Putting it my way
But nicely
You are precisely
My cup of tea
Getting to know you
Getting to feel free and easy
When I am with you
Getting to know what to say
Getting to feel free and easy
When I am with you
Getting to know what to say
Haven't you noticed
Suddenly I'm bright and breezy?
Because of all the beautiful and new
Things I'm learning about you
Day by day
Suddenly I'm bright and breezy?
Because of all the beautiful and new
Things I'm learning about you
Day by day
Basically, they're not where they should be yet, most probably because the majority of the cast had not appeared in Manon before this week. And, we’re coming to find out, some had never even seen a live performance of it. But that wasn’t the only issue. Herman’s dancing in Act I was so careful and understated that we feared he might not return after the first intermission. His current negotiations with his calf injury were surely the cause and continue to make ticketholders very nervous about whether he will appear in Friday’s performance. Sarah’s Act I was technically secure and fully danced, but the characterization needed tighter stitching. We saw the lovely young Manon in the courtyard, but didn’t see why her father would want to send her off to the convent. When Monsieur G.M. offered her the fur coat, she suddenly bolted for it without having shown any previous interest in the finery on display around her. It came as a surprise to us.
The Bedroom PdD hit all the important points but wasn’t danced with the freedom and passion that we’d hoped for. To be honest, in the days and hours leading up to this performance, we had to continually caution ourselves to manage our expectations and to avoid watching the performance while playing memories of Bocca and Ferri in the background. Not easy, and maybe not even possible. Herman’s & Sarah’s Act I Bedroom PdD would certainly become enriched and empowered through more full performances, excerpt performances, and gala events, but it doesn’t seem that ABT is in a frame of mind these days to do any of those old-time galas and excerpt evenings which were invaluable to artists cutting their teeth on new roles.
Act II of Manon is all about the heroine’s seduction of the wealthy, handsome men around her. Her solo in which she is deliciously manipulated by them from one airborne position to the next was at times mesmerizing. But Manon’s dives had a “close my eyes, drop my head, and dive off the high board” look to them instead of being alluring and filled with sensuality. Overall, this section was a marvelous success even if the final moment when G.M. put the bracelet on her arm looked a little hurried like “Come on, get the damned bracelet on before the music ends!” However, the bracelet PdD between Manon and Des Grieux that followed was in all respects quite wonderful. Herman didn’t seem to be as cautious as in Act I and was willing to dance more authoritatively — which is the only way to conquer the difficult solo assigned to Des Grieux at the beginning. All the switching of directions with turns and arabesques went smoothly for him.
Making his debut as Lescaut a day early, Blaine Hoven was a striking success from the opening pose wrapped in his cape and kneeling under the spotlight to his murder in handcuffs in Act II. His drunk-dancing by the inebriated Lescaut was intoxicating to watch. He “stumbled" from one end of the stage to other crossing his legs this way and that way, falling and catching himself at the last second, all the while looking sloppy drunk and pleading for approval from those on stage watching him. He is such a fine and respected dancer and artist who certainly should have been elevated to leading principal roles and principal status years ago. It is all such a damn shame and loss.
Making her debut as Lescaut’s Mistress, Cassandra Trenary, danced well but unfortunately nearly totally disappeared into the crowd of other women on stage. Her lack of height was a big part of the problem, and she seemed to vanish in the elaborate costume. It just had too much fabric for Trenary’s size which made it difficult for her dancing to be seen and appreciated. While the steps didn’t cause her problems, the character wasn’t fully realized.
Keith Roberts as Monsieur G.M. was as blank as could be. Luis Ribagorda was brilliant in the Beggar Chief’s allegro and would be a natural Lescaut. Roman Zhurbin as The Jailer substituted a meanness like Cruella de Vil for the Jailer’s horrific rapist's mentality. And did ABT once again bend over for the Woke Folk by taking the Jailer out of his crisp white tights and fearsome belt and then costuming him in some sweet little sweat pants to try to alleviate some of the horror of the rape scene? The Actresses and Harlots conveyed that they were thinking about their steps instead of thinking about being Actresses and Harlots. The Courtesans had more success; Courtney Lavine, in particular, was able to convey the allure and sensuality of the character.
Our H.H. Pump Bump Award is bestowed upon Sarah Lane and Herman Cornejo for their remarkable Act III Pas de Deux in Manon.
28 responses to “ABT – Manon 6/18”
Thank you for this. I just flew in today to see tonight’s cast and tomorrow’s matinee, and I wondered if Herman would be dancing carefully. You have helped me manage my expectations. I probably should not have watched my Acosta/Rojo Manon DVD every night for the past two weeks! The last time I saw Manon was in Houston, and it was an outstanding performance that I will never forget.
Thank you for this. I just flew in today to see tonight’s cast and tomorrow’s matinee, and I wondered if Herman would be dancing carefully. You have helped me manage my expectations. I probably should not have watched my Acosta/Rojo Manon DVD every night for the past two weeks! The last time I saw Manon was in Houston, and it was an outstanding performance that I will never forget.
You are a Ballet Warrior, Patricia.
For your sake, my sake, and everyone’s sake, I hope Herman shows up tonight to dance. We all need this performance.
I clearly remember that incredible Manon in Houston with Yuriko Kajiya and Aaron Robison!
You are a Ballet Warrior, Patricia.
For your sake, my sake, and everyone’s sake, I hope Herman shows up tonight to dance. We all need this performance.
I clearly remember that incredible Manon in Houston with Yuriko Kajiya and Aaron Robison!
Well, you got your wish!
And I’m less of a warrior these days…I haven’t spent the night at LaGuardia in years.
Well, you got your wish!
And I’m less of a warrior these days…I haven’t spent the night at LaGuardia in years.
Yep, they put on quite the show!
Yep, they put on quite the show!
Stella Abrera just posted some past Manon photos on her Instagram acct, and there are two of Sascha in the original Jailer costume that you describe.
Stella Abrera just posted some past Manon photos on her Instagram acct, and there are two of Sascha in the original Jailer costume that you describe.
Thanks, Patricia.
The substitution of pants for tights looked stupid, especially when all of the other guards wore the white tights. It reminded me of when McKenzie wore his sweatpants through the final act of the televised R&J with Makarova.
Thanks, Patricia.
The substitution of pants for tights looked stupid, especially when all of the other guards wore the white tights. It reminded me of when McKenzie wore his sweatpants through the final act of the televised R&J with Makarova.
Ahh, I had complicated feelings about this performance. I saw the Monday and Friday casts, and I’d been looking forward to both for about ten years.
I think Lane and Cornejo have all the goods, but they weren’t deployed here, not this week. Agree completely with Haglund on the missing components. My mother, who’s been going to ABT since the 70s, called them “too pose-y, too pretty, and neither beautiful nor broken, but full of potential.” If you check Lane’s Instagram I think you see why; she wrote a lengthy post about how Manon is a vapid girl who has to “learn the hard way” about “values,” which I find disappointing. MacMillan once explained Manon as being not afraid of being poor, but ashamed. Seymour has described many MacMillan heroines as essentially flirtatious girls in over their heads. I don’t think Lane has grappled with either of these elements (the ballet’s class problem, and its gender problem). Great Manons tend to either decide that she’s a completely feckless, sexual creature, who’s unleashed in a world that she at first controls but then loses to (Ferri) OR that she’s a coquettish pleasure lover who also loved Des Grieux, and truly believes that she can enter this world for a few minutes, make her way out of the tenuous lower middle class, and then get out, only to find that it’s impossible, and that she’ll die for her disobedience (Sibley). She either covets every pretty object in front of her in a glorious lust, including Des Grieux, or she happens upon luxurious things and finds herself imagining what it might be like to be someone else.
Lane hasn’t figured this part out yet. The coat scene reaaally stood out as a totally wasted moment. She ran for it, but didn’t seem to relish it. The ballroom scene had the same problem. She enjoyed the male attention, but neither enough, nor sufficiently uncomfortably. She just wasn’t present. As for Lane’s technique, of course it’s perfect, we all know that–but it’s not been adapted for the role. I do want to see her again after she’s… done a little homework about pre Revolutionary France and what it was like for nonwealthy women. I’m also going to see her with Cornejo in Sleeping Beauty, which I expect to be spectacular.
As for Monday, well, I know how Haglund feels about Seo, so I’ll be brief, but I’m begging you to see her in this, by everything that’s holy. I swear on my shrine to Alessandra and Julio, to which I pray every Spring season, this was the most important Manon I’ve ever seen. If you’re inclined to give her even half another chance, let her win you over in this role.
Ahh, I had complicated feelings about this performance. I saw the Monday and Friday casts, and I’d been looking forward to both for about ten years.
I think Lane and Cornejo have all the goods, but they weren’t deployed here, not this week. Agree completely with Haglund on the missing components. My mother, who’s been going to ABT since the 70s, called them “too pose-y, too pretty, and neither beautiful nor broken, but full of potential.” If you check Lane’s Instagram I think you see why; she wrote a lengthy post about how Manon is a vapid girl who has to “learn the hard way” about “values,” which I find disappointing. MacMillan once explained Manon as being not afraid of being poor, but ashamed. Seymour has described many MacMillan heroines as essentially flirtatious girls in over their heads. I don’t think Lane has grappled with either of these elements (the ballet’s class problem, and its gender problem). Great Manons tend to either decide that she’s a completely feckless, sexual creature, who’s unleashed in a world that she at first controls but then loses to (Ferri) OR that she’s a coquettish pleasure lover who also loved Des Grieux, and truly believes that she can enter this world for a few minutes, make her way out of the tenuous lower middle class, and then get out, only to find that it’s impossible, and that she’ll die for her disobedience (Sibley). She either covets every pretty object in front of her in a glorious lust, including Des Grieux, or she happens upon luxurious things and finds herself imagining what it might be like to be someone else.
Lane hasn’t figured this part out yet. The coat scene reaaally stood out as a totally wasted moment. She ran for it, but didn’t seem to relish it. The ballroom scene had the same problem. She enjoyed the male attention, but neither enough, nor sufficiently uncomfortably. She just wasn’t present. As for Lane’s technique, of course it’s perfect, we all know that–but it’s not been adapted for the role. I do want to see her again after she’s… done a little homework about pre Revolutionary France and what it was like for nonwealthy women. I’m also going to see her with Cornejo in Sleeping Beauty, which I expect to be spectacular.
As for Monday, well, I know how Haglund feels about Seo, so I’ll be brief, but I’m begging you to see her in this, by everything that’s holy. I swear on my shrine to Alessandra and Julio, to which I pray every Spring season, this was the most important Manon I’ve ever seen. If you’re inclined to give her even half another chance, let her win you over in this role.
I saw Monday’s Seo/Bolle and Tuesday’s Lane/Cornejo. Bolle partnered well, but his technique is eroded such that his first solo was excruciating to watch. Seo danced well and give it her all, but she was a blank, a complete cypher. The standouts of the evening for me were Whiteside as Lescaut, Abrera as his mistress, and Hammoudi as the jailer. I thought the evening dragged and would never end; in fact, I seriously thought of giving away my ticket to Lane/Cornejo because I didn’t think I could sit through Manon a second tedious time. What a mistake that would have been! Lane/Cornejo were sensational and the evening flew by. What a difference a night made.
I’d like to say a further word about Whiteside. I’ve never been much of a fan, but this season something is different. After seeing him as Harlequin in Harlequinade, Olga’s fiancé in On the Dnieper, and Lescaut in Manon, I’m naming Whiteside MVP of this season. He’s been outstanding each and every time, and I’m not going to automatically try to avoid him in future.
I saw Monday’s Seo/Bolle and Tuesday’s Lane/Cornejo. Bolle partnered well, but his technique is eroded such that his first solo was excruciating to watch. Seo danced well and give it her all, but she was a blank, a complete cypher. The standouts of the evening for me were Whiteside as Lescaut, Abrera as his mistress, and Hammoudi as the jailer. I thought the evening dragged and would never end; in fact, I seriously thought of giving away my ticket to Lane/Cornejo because I didn’t think I could sit through Manon a second tedious time. What a mistake that would have been! Lane/Cornejo were sensational and the evening flew by. What a difference a night made.
I’d like to say a further word about Whiteside. I’ve never been much of a fan, but this season something is different. After seeing him as Harlequin in Harlequinade, Olga’s fiancé in On the Dnieper, and Lescaut in Manon, I’m naming Whiteside MVP of this season. He’s been outstanding each and every time, and I’m not going to automatically try to avoid him in future.
I thought Herman and Sarah took it up several notches on Friday night. There was more of everything: passion, risk-taking, chemistry, characterization, energy. It was a wonderful experience.
It occurred to me how the characters of Des Grieux and Romeo can and do overlap in places but the characters of Manon and Juliet are as different as ice cream from Tipsy Scoop and Mr. Softee. A Tipsy Scoop deposits a big extra something into your system that temporarily alters your reality. Sarah definitely bent reality last night.
I thought Herman and Sarah took it up several notches on Friday night. There was more of everything: passion, risk-taking, chemistry, characterization, energy. It was a wonderful experience.
It occurred to me how the characters of Des Grieux and Romeo can and do overlap in places but the characters of Manon and Juliet are as different as ice cream from Tipsy Scoop and Mr. Softee. A Tipsy Scoop deposits a big extra something into your system that temporarily alters your reality. Sarah definitely bent reality last night.
I went to see Bolle on Monday and Thursday. He appeared slow on Monday, but he was much better on Thursday. In fact, the entire cast took it up a few notches in order to give Bolle a worthy send-off. Seo was much more emotional on Thursday. The celebration was grand and it was a testament to Bolle that Veronica Part, Irina Dvorovenko and Julie Kent came to bid him farewell. Bolle never had the highest jumps or the fastest turns, but he was not about the tricks. I just loved his exquisite line, extension and his ability to make a ballerina shine. He chose the right time to retire, and he will be missed.
I went to see Bolle on Monday and Thursday. He appeared slow on Monday, but he was much better on Thursday. In fact, the entire cast took it up a few notches in order to give Bolle a worthy send-off. Seo was much more emotional on Thursday. The celebration was grand and it was a testament to Bolle that Veronica Part, Irina Dvorovenko and Julie Kent came to bid him farewell. Bolle never had the highest jumps or the fastest turns, but he was not about the tricks. I just loved his exquisite line, extension and his ability to make a ballerina shine. He chose the right time to retire, and he will be missed.
Manon fans:
I found a fabulous 30 minute excerpt of the Paris Opera Ballet production of Manon to tide us over until the next live performance. Not sure this link will work but the title was L’Histoire de Manon. Hugo Marchand and Dorothee Gilbert 2015. Enjoy!
https://www.youtube.com/watch?v=pGtSnTKgmFE
Loved the acting.
Manon fans:
I found a fabulous 30 minute excerpt of the Paris Opera Ballet production of Manon to tide us over until the next live performance. Not sure this link will work but the title was L’Histoire de Manon. Hugo Marchand and Dorothee Gilbert 2015. Enjoy!
https://www.youtube.com/watch?v=pGtSnTKgmFE
Loved the acting.
Thanks for this, Jennifer. I love Dorothee in the first three pdd. She might be a little too wonky for my tastes in the final swamp dance, though. In the first three, I loved watching how her turns would flip-flip-flip like a coin around her axis.
You’ve probably already seen this but here’s a very old complete version from the Australian Ballet featuring Steven Heathcoat and Justine Summers. The final pas starts right after 1:43:14, and it’s a doozy:
https://www.youtube.com/watch?v=pRCA5pOjVUg
Thanks for this, Jennifer. I love Dorothee in the first three pdd. She might be a little too wonky for my tastes in the final swamp dance, though. In the first three, I loved watching how her turns would flip-flip-flip like a coin around her axis.
You’ve probably already seen this but here’s a very old complete version from the Australian Ballet featuring Steven Heathcoat and Justine Summers. The final pas starts right after 1:43:14, and it’s a doozy:
https://www.youtube.com/watch?v=pRCA5pOjVUg
Allesandra Ferri and a young Bolle:
https://m.youtube.com/watch?v=T4EeeBvAWms&t=2370s
Allesandra Ferri and a young Bolle:
https://m.youtube.com/watch?v=T4EeeBvAWms&t=2370s
Extraordinary. Period.
Extraordinary. Period.