„Manon" , revisited, SND, The Slovak National Theater (Slovenské národné divadlo): Première, March 22nd, 2024

Mar 25

Mar 25 „Manon" , revisited, SND, The Slovak National Theater (Slovenské národné divadlo): Première, March 22nd, 2024

A happy way of celebrating the 50th Anniversary of this Ballet's Première (March 7th, 1974).

Just before the performance began, I read the (long-forgotten, I must confess) Kenneth MacMillan's quote in the programme, which made me think a lot about the construction of some of his ballets:

„Early in my career, I knew what I wanted to put on stage had to have more reality than much of what I was seeing in the 1940s and 1950s. I was influenced by the theatre. So I had to find a way to stretch the classical language"

His „way" is still the cause of many discussions.

Dramaturgically speaking, I consider „Manon" (1974) as a full-length Ballet, a sort of „healthy mélange" of „Romeo and Juliet" (1965) and „Mayerling" (1978), a ballet to which a „preparation period" in Austrian History (implying in a lot of reading and research until you can have an own opinion about this history's period), is a must. Not really „Ballet language". Not beating about the bush, let's be honest: A layman on the subject could not just enter Covent Garden, take a seat and understand the storyline of „Mayerling". This is a fact.

The „theatricality" included in MacMillan's work, the way it is staged, is exactly what some adore – and others abhor. Perhaps because they have the difficulty of calling it „Dance language".

Using the same principle as in Gorkys's „Summer Folk", he staged (many) different aspects of the story-telling happening simultaneously and this structural basis combined with the very democratic architecture of the „Slovenské národné divadlo" in Bratislava, may lead us to (too many) diverse interpretations of the same piece.

"Too many?", you may be thinking.

Yes.

Because many actions are happening at the same time on stage.

Too much information as every character seems to have their own "curriculum vitae" (Like, for example, the "unlucky Cocotte" - let me call her this way – to whom everything seems to go wrong - and who is very funny. This little part is structured as a character from A to Z and for some reason caught my attention yesterday (played with heart and soul, delightfully funny by Viola Mariner).

But before we go any further, I would like to point out the difference – architecturally speaking – of our more modern theatres compared to more "classical" ones. This is a fact of great importance, especially when discussing Mr Mac Millan's work.

To make a long story short: In a not-so-modern Building, and as in the above-mentioned "Summer Folk" (in which many different dialogues happen at the same time), the assimilation of what you are focusing on will happen accordingly to the place you are sitting in. For example, take a seat at the orchestra level of a more traditionally built "House": From such a seat you will be just confronted with the first rows of players as your view is somehow restricted.

You may be now thinking: "But if I am sitting on the first, second or third Balcony, I'd "see" all that". Not exactly – a more "intimate" theatre like the Slovak National Theatre offers a more "human" distance from the stage, to catch "details", than "elderly" Opera buildings, which may either restrict the viewing of a Play/Opera/Ballet to a certain "radius", depending on your seat or diminish the size of "everything" you are supposed to see, because of the big "length" between your seat and the stage, even looking at it from "above".

We can go on for hours questioning if the audience's focus (on the particular and relevant action on stage that we should notice, as there are many simultaneously) and if its intentional manipulation is more effective on a classical stage or not.

One thing is certain: Martin Yates (Wonderful and inspiring Orchestration, Musical preparation and Conductor) and Robert Twesley (Staging) are meticulously pin-pointed in their works. Both have more than succeeded in offering to the Slovakian and Austrian audiences a show of the highest calibre possible.

Conducting a ballet, Mr Yates dedicates all possible attention to the dancers on stage. One can witness a kind of empathy that is visibly seen and felt, especially in the adjustment of the tempi according to the dancer's constitution and/or biorhythm. Care. Resuming: Conducting and Dancing in unison to Massenet's beautiful chords.

Mr Tewsley's career is one that I have followed for many years. First as a gifted, expressive dancer at the "Stuttgart Ballet", "The Royal Ballet" and "The New York City Ballet" (even as a guest here in Vienna!) and now his close work with the MacMillan estate, staging Sir Kenneth MacMillan's ballets around the globe. Talking about "Manon", we are also talking about his singular and deeply felt Knowledge of a work in which he also danced "Des Grieux" – many, many times, I assure you. Intellectually speaking, Mr Tewsley's work in staging "Manon" for the company is not only a gift to all dancers, who have learned so much from this most gifted of Artists and his insights about the production but a "present" of understanding, "visions", and sentiment. I am glad that I have had the chance to say so, not only here but also personally, yesterday evening.

"Manon" is a Ballet whose scene opens "in high voltage". No time to "warm up" on stage. The choreography, from the beginning to the very End of the third act, requires pin-pointed exactitude, style, definition and precision – the fascinating, quick use of alternating efacé, croisé and écarté, the precision and poetry of the arms, a MacMillan characteristic... From the first bars of the first act, the audience is involved.

The complexity of the first act's beginning is not an easy task for everyone involved on stage. And it requires nerves – another not-easy task during an opening night. Mr Vladyslav Bosenko (Lescaut's Friend and Beggar Chief) quickly conquered his equilibrium on stage after a short while of "turbulences".

Funny to think that there are no real "good" characters in this story, not even some sad character who dies halfway through the evening (like Liù in "Turandot"). The "theme" of the story of Prévosts book can be reduced to the immorality of spirit on a very high level: Fake, Lies, Prostitution, Traffic of "white slaves", Lechery, Greed, Decadence, Power Disputes and the list goes on and on.

The third act brings us the nearly "amoral" warden in "Nouvelle Orleans" played with a sense of inhumanity, and heartlessness by Mergim Veselaj in perhaps the most immoral part of the choreography. Totally outside society's standards of acceptable, honest and moral behaviour because of his "use" of a woman as just an object – not even a sex object but an object to satisfy his yearnings. Choreographically speaking: A Masterpiece in "saying" exactly what is not "allowed" to be said or meant to be said.

Romina Kotodziej gives a magnificent portrait of Lescaut's debauched "Woman": Both emotionally and technically. Her "Drunkness" is unforgettable. MacMillan's inspiration had no ends while writing the choreography – not only did the "Woman" experience a moment on stage in which she is in "another perceptive state" (because of alcohol) but also "Manon" during the dying/final pas de deux (because of exhaustion). It always fascinates me how both have to control their movements in another way, in a sort of contraction and "let go" alternatively. This requires strength and "technique" on another level. Totally "in character" (being the only one of the Soloists to have started the show "full" in character), Miss Kotodziej "stole" the show many times.

Versatile Andrej Szabo is in full command of Monsieur G.M.'s moods, meanness and egocentric reactions. One of Mr Szabo's many talents is the capacity to stay in character at all times, never letting any distractions come his way. This is not the first time that he has surprised me so positively. Admirable.

The perfectly cast “trio” in the second Act dynamically and precisely danced by three gifted dancers: Adrián Szelle, Wisse Scheelle, and Emanuele Ferrentino. Joy.

Lescaut, which I consider the "best" (the most interesting) character in the book/ballet was well "played" by Viacheslav Krut´. Technically "clean" he also understands how to give Lescaut the necessary "sauce" of immorality, greed and lack of character. He was "in character" and made a human being out of Lescaut. Not a very good one, but still a human being of Flesh and blood. I am still waiting for a Lescaut as I have seen Antony Dowell portray him (Yes, you are reading correctly. I also saw Dowell as Lescaut in the late 70s at the ROH, as he was alternating the Lescaut/Des Grieux roles with David Wall): he subtly painted a certain coldness and total emotional aloofness into the character, that I have not seen ever since.

Des Grieux and Manon, strong characters who were created "on" Dowell & Sibley, still carry, after all these years, so much of those two dancers' "signatures":

Her restrain never daring too much, very moderate.

His lyrical qualities emphasise his unforgettable lines, especially in arabesques – which is not an easy task for dancers of other proportions.

There is still work to be done. Especially in the character’s study department. Nonetheless, there were moments in which Tatum Shoptaugh "had" the role – as in the pas de trois with Lescaut and Monsieur G.M. (My all-time favourite part of the show) and its "sequence". Getting her first jewels she succumbs to the truth and faces her own character. The discovery that this late Baroque "Lola-Lola" (referring to "The Blue Angel") or "Lulu" from the 18th Century (referring to Wedenkind's "Pandora's box") covets wealth and will even fall into lechery to get it. But there were also moments in which she lost it completely – as in Manon's variation in the second act, while the whole cast "freezes" in motion, without any of the "caressing" the floor with that devilish child-like quality. It was amiss.

The "chemistry" between Miss Shoptaugh and Andrea Schiffano, who, although very competent and correct, gives a very stiff interpretation (a certain tension in the lower jaw, gives him sometimes away) of what can be a role full of the most beautiful, delicate nuances, is never totally believable: After their first pas de deux in the first act, one does not "buy" this "falling in love too fast". One does not buy either their final "Farewell". In this particular scene, I want to see despair. Not two Dancers imitating despair. The Première is over, now there is more time to work on the characters' details. I am curious about these two roles in the future and how they'll have developed.

Even with some flaws, this beautifully staged production deserves all our attention. Another one of Miss Nina Poláková's feats since the beginning of her direction period. An international production of the highest level that reunites the talents of many excellent professionals: Nicholas Georgiadis (Sets and Costume Design), Jacopo Pantani (Lighting Design) and Martin Yates & Robert Tewsley, as mentioned before.

Ricardo Leitner

a t t i t u d e

Vienna, March 23rd, 2024