MAN, OH MANON, DOES SF BALLET EVER DELIVER
San Francisco Ballet opened its season last weekend with Manon—the first in its “British Icons” series—the sumptuous and heartbreaking ballet by Sir Kenneth MacMillan. Based the hugely influential novel L’Histoire du chevalier des Grieux et de Manon Lescaut by the colorful Abbé Prévost, Martin Yates arranged and orchestrated various works of Jules Massenet, who had also written the eponymous opera. Yates’s score masterfully conveys the emotional depth of the heroine, Manon Lescaut, through lush orchestration, delicate melodies, and rich harmonies. Performed live by the San Francisco Ballet’s Orchestra’s Principal Conductor and Music Director Martin West, this timeless tale explores love, ambition, and the cost of desire. Since its 1974 premiere at London’s Royal Opera House, Manon has captivated audiences worldwide, and now, half a century later, its opulent tragedy unfolds on the War Memorial Opera House stage by a world-class company.
Victor Prigent
Sasha De Sola
Nicholas Georgiadis’ original sets and costumes are lavish yet layered with striking contrasts between wealth and poverty, power and vulnerability. At the heart of the story is Manon (Sasha De Sola, luminescent at my Saturday night performance), a young woman poised for a convent life to escape destitution. Her brother, Lescaut (Esteban Hernández), however, has other plans, leveraging her beauty and charm to secure their financial future by offering her to wealthy patrons.
San Francisco Ballet
Jasmine Jimison and Max CauthornYet fate intervenes. In a bustling village square, amid the lively throng of society, Manon encounters the young and idealistic Des Grieux (guest artist Alban Lendorf), a handsome student. Their attraction is instant and electric, igniting a love so intoxicating that it threatens Lescaut’s ambitions. MacMillan’s choreography intensifies this passion, with intricate, erotic, and tactile pas de deux that are both sensual and deeply expressive—where many ballets hint at intimacy, Manon makes it palpable.
Jasmine Jimison and Max Cauthorn
As the story unfolds, tension heightens. Despite Lescaut’s schemes and the presence of the affluent Monsieur G.M. (Myles Thatcher), Manon and Des Grieux remain ensnared in their undeniable chemistry. The ensemble scenes demand a delicate interplay of movement and character, yet when the lovers take center stage, the world falls away—leaving only their fervent connection.
San Francisco Ballet in Manon
As greed and betrayal take hold in Act II, the stakes escalate. By Act III, passion gives way to despair—culminating in a harrowing descent into violence, devastation, and loss. With no words to narrate the unfolding tragedy, every moment is conveyed through movement and music. Massenet’s sweeping score propels the drama forward, immersing the audience in an emotional whirlwind. Staged by Robert Tewsley, MacMillan’s choreography contrasts the refined elegance of high society with the earthy, rough energy of the underworld. The courtesan scenes are full of flirtatious, provocative movements, while the street scenes feature sharp, aggressive gestures that heighten the sense of social disparity. MacMillan also often uses sweeping, expansive movements, off-balance turns, and intricate partnering to create a sense of emotional turbulence.
Frances Chung and Max Cauthorn
Joanna Berman and Frances Chung
Jasmine Jimison and Max CauthornWith its intoxicating mix of romance, intrigue, and heartbreak, SF Ballet’s thrilling, fast-paced production of Manon creates many glorious images that linger long after the curtain falls. It is a powerful testament to the emotional depth of dance—an unforgettable evening of artistry that speaks to the desires and dilemmas of the human soul.
San Francisco Ballet in MacMillan's Manon
photos © Lindsay Thomas
Manon
San Francisco Ballet
War Memorial Opera House
ends on February 1, 2025
for tickets, call 415.865.2000 or visit SF Ballet
2 hours, 39 minutes
Act I – 42 min
Intermission – 20 min
Act II – 47 min
Intermission – 15 min
Act III – 35 min
