National Ballet of Japan’s revival of Kenneth MacMillan’s Manon this season had a special meaning. In March 2020, two performances of Manon had to be cancelled because the government urged the theatre to close down due to the Covid pandemic. So this revival was a long awaited one. And this time, the company managed to acquire the 52-year-old original production designs by Nicholas Georgiadis from the Royal Ballet. They carry the atmosphere of the time when the ballet was born and were also used at NBJ’s company premiere in 2003.
The staging was by former Royal Ballet Principal Robert Tewsley (with notator Yuri Uchiumi) who had guested in the company’s Manon in 2003 in the roles of Des Grieux and Lescaut, and they brushed up the details that had been lost within the years of many revivals. The results were marvellous.
These performances showed how the company has gained in expressiveness after six years. Last time they had only two Manons and Vadim Muntagirov came to perform as a guest. This time, the company managed to have three leading casts, all by company dancers, and each of them had their own virtues and dramatic qualities. The whole company created the atmosphere of an impoverished 18th century France and the lush life of the demi-monde society at that time.
On the opening night, Manon was Ayako Ono, who had first danced the role in 2012, and her regular partner, Yudai Fukuoka was Des Grieux. Kosuke Okumura played the role of Lescaut, Manon’s brother. Sweet and delicate, Ono first appears as an innocent young woman about to enter a convent, but her charm catches the eye of many, including the wealthy Monsieur G.M.. While her passion leads her into the arms of Des Grieux, her fear of poverty and her dreams of a lavish life provoke her ever-changing, capricious moods. Ono was skilled at showing how Manon simply cannot resist gorgeous dresses and jewellery, the wealth that G.M. gives her while being torn between that and her love for Des Grieux. Her fluid upper body, eloquent arms that she so obviously yearns to be decorated by the fateful bracelet, and musicality that melts into Massenet's score, makes her a sensual temptress. Even after Manon is deported to America as a prostitute and raped by the gaoler, Ono’s Manon never loses her beauty. She shone even when dressed in rags and with a shaved head.
Yudai Fukuoka was an ardent Des Grieux with secure partnering which made their duets seamlessly flow with beautiful arabesque lines and a devotion that was touching especially during the swamp pas de deux. He might have made a great Lescaut as well, sometimes showing signs that his desires corrupt Manon. Kosuke Okumura was a cunning Lescaut, charming in his drunken solo and although he exploits his sister, we could see the strong bond between the siblings. It would be great if he could also perform the role of Des Grieux as he would be a romantic lover as well as a fabulous partner. It was thrilling to see these two strong dancers fighting at the end of Act 1.
It has often been said that Japanese ballet dancers have splendid technique but are less great at acting and creating drama. That may have been the reason that former Royal Ballet Principal Miyako Yoshida chose to revive Manon. Dramatically the company were a little too reserved and well behaved on the opening night, but the dancers began to exist as real people as the run progressed. We could feel the filthy, almost stinky Paris streets of the 18th century, smell the perfume in Act 2 and the dampness of the swamps in Act 3. And there were very fine dance actors too.
Special mention should be given to Masahiro Nakaya who played Monsieur G.M. in all of the performances, embodying the lecherous, rich, old man as though he was actually so. He didn't bow even in his curtain calls in order to stay inside his character. Mamiko Yukawa, former principal and current ballet mistress who danced the role of Lescaut’s Mistress in 2003, returned to the stage in the role of Madame with much charisma. She led Lescaut’s Mistress (Yuri Kimura) with clarity, allowing her to be very expressive and coquettish. Tewsley had requested that the mirrors in the studio were covered in rehearsals, which seems to have had a powerful effect on the acting.
The world of sexual violence, misogyny, materialism and female exploitation that is drawn in Manon is still alive in the 21st century. Sadly our society continues to have those shameful aspects and that might be the reason this ballet never gets old and resonates so deeply. The whole company gave exceptional performances. The other Manons, Yui Yonezawa and Saho Shibayama (which was her role debut) were also brilliant in their own individual way. Martin Yates, who arranged and orchestrated the score conducted the Tokyo Symphony Orchestra eloquently. Six performances were not enough and one hopes Manon will return to the repertoire in the very near future.
