Manon (The Australian Ballet), at Regent Theatre - 2 hours 45 minutes, with two intervals

What a glorious production of Sir Kenneth MacMillan’s choreographed Manon, which showcases all that is great about ballet.

Featuring artists of The Australian Ballet with Orchestra Victoria, under the baton of Charles Barker, the staging is inspired, the costuming magnificent and the dancing sublime.

Photos by Kate Longley

Based on Abbé Prévost’s 1731 novel, love is pitted against money, with the contention that it is either one or the other.

The action moves from the opulence of 18^th century Paris to the desolate swamps of Louisiana.

Manon (Robyn Hendricks), who is on her way to enter a convent, is beautiful and entrances many men.

She meets and falls in love with a passionate but poor student, des Grieux (Callum Linnane).

Lescaut (Maxim Zenin) is Manon’s conniving brother who trades in his sister’s charms.

At the head of the queue is wealthy Monsieur G.M. (Adam Bull), who pays to win her favour.

But when, on Manon’s advice, des Grieux double crosses Monsieur G.M., Manon’s ignominious fate is all but sealed.

Worse is to come after she is transported to a penal colony in Louisiana and she faces the forceful, lascivious ways of the gaoler.

Again, des Grieux intervenes, but Manon’s end is near.

Unfolding in three acts, with two intervals, Manon is a grand spectacle, a sweeping tale, with beautiful music composed by Jules Massenet. Orchestration and arrangements are by Martin Yates.

The mastery of performance is noteworthy.

Robyn Hendricks excels with delicacy and precision as Manon. Callum Linnane is a commanding presence as des Grieux.

Together, they are a dynamic combination. She comes across as alluring and playful, while he is yearning and earnest.

Maxim Zenin’s high leaping and comic sensibilities when drunk are among his distinguishing features as Lescaut.

I was also particularly taken by Isobelle Dashwood’s striking turn as Lescaut’s mistress.

Arrogance and entitlement are the purview of Monsieur G.M., as well realised by Adam Bull, who brings to bear an air of superiority.

There is a necessary haughtiness and roughness about Joseph Romancewicz as the gaoler.

Franco Leo has a lilt in his step as an old man attracted to Manon, who also favours the liquid amber.

Together with an accomplished ensemble, they put on quite a show, with the choreography allowing the story to breathe – for emotion to show.

The stunning, opulent, evocative set and costume designs by Peter Farmer are works of art in and of themselves.

We move from a village setting to a bedroom with a four-poster bed, from a grand hotel with chandeliers to a port and then a swamp.

So, in terms of costuming, Farmer spans the regal to the downtrodden.

Staging by Laura Morera and Gregory Mislin, and lighting design by Jacopo Pantani, relit by Jason Morphett, are exemplary and help set the mood.

In summary then, Manon is a breathtaking work.

Quite appropriate then, that the Melbourne season is dedicated to the memory of a founding member of The Australian Ballet – Colin Peasley OAM.

His legacy lives on in the finest of efforts by the company – which he helped to develop – in breathing life into a truly spectacular production.

Manon is on at Regent Theatre until 22^nd October, 2025.