The Australian Ballet’s 2025 repertoire under Artistic Director David Hallberg is no season of fairy floss and tutus. Hallberg continues to push boundaries with bold, provocative choices, first with Nijinksy, and now with Manon.

One of the most controversial works in the classical ballet canon, Manon is based on Abbé Prévost’s 1731 novel and set in 18th-century France. It’s a raw, sensual tale of erotic love, exploitation, and tragedy.

Sold by her brother to a wealthy nobleman, Manon is a woman torn between desire and materialism, ultimately sacrificing love for luxury. This is not a ballet that comforts — it confronts. And it’s all the more powerful for it.

Choreographed by Sir Kenneth MacMillan, Manon traces a journey from poverty to opulence and ultimately to ruin and death, a ballet that is both passionate and heartbreaking.

The performance opens dramatically: a spotlight illuminating a cloaked figure (Lescaut). The intensity established at the start continues to build, carrying the drama throughout the production.

Principal Artist Benedicte Bemet is exquisite in the lead role of Manon. Light as a feather she enchants from her very first step en pointe. Bemet floats across the stage beguiling and teasing with every graceful movement. Her performance is playful, flirtatious, and even a little cheeky.

As Des Grieux, Joseph Caley is a compelling counterpart. His every line is defined, his strength visible beneath his pale almost, translucent tights. With effortless grace, he dips, twirls, lifts and holds Bemet, their chemistry undeniable.

Together, they deliver a passionate pas de deux — intimate and tender. The lovers exchange knowing smiles, their bodies entwined, arms wrapped around each other in moments of closeness and desire. Their kisses are lingering, their connection electric. Manon leaps into Des Grieux’s arms with the abandon of love, and the audience is swept away with her.

Principal Artist Brett Chynoweth brings Lescaut, Manon’s brother, to life with powerful jetés and sharp turns. Dancing with a convincing blend of drunken swagger and technical brilliance, he delivers a performance that’s both comedic and lighthearted, it’s a welcome moment of levity in an otherwise tragic tale. With his mistress (Jill Ogai), she brings a sense of playfulness to their dancing.

Each movement and scene drives the narrative forward, such as the pas de trois between Manon, Monsieur G.M. (Former Principal Adam Bull), and her brother Lescaut — the moment when Lescaut sells his sister in exchange for wealth and status and Manon in turn, unable to resist the seductive pull of luxury, even as it leads her down a tragic path.

MacMillan’s Manon is choreographed with scenes of sexual violence that are both shocking and confronting. He doesn’t shy away from portraying the abuse of women with one particularly harrowing moment showing the goaler (Jarryd Madden) forcing Manon to perform oral sex.

The performance is accompanied by the Opera Australia Orchestra in Sydney and Orchestra Victoria in Melbourne, featuring a musical score by composer Jules Massenet and arranged by Martin Yates.

Manon’s choreography blends classical and modern ballet, offering the audience a dynamic range of styles. From ensemble members performing cartwheels across the stage to intense sword-fighting sequences, the production is rich in theatrical flair. Particularly striking is the ensemble of courtesans, who ingeniously incorporate their clothing into their dance, adding flair and character to their movements.

Renowned British set designer Peter Farmer crafted not only the evocative sets but also stunning costumes, most notably for Manon, whose wardrobe reflects the arc of her dramatic journey. At the height of her wealth and allure, she is adorned like a prize: a radiant gold headpiece crowns her, complemented by a gold lace gown with red underlay. This opulence stands in stark contrast to her final moments, destitute and degraded, dressed in rags with her hair shaved.

Farmer’s theatrical styling is elevated by exquisitely painted backdrops that bring richness and depth. From the luxurious bedroom, complete with a four-poster bed and elongated portrait window, every detail serves the emotional and narrative sweep of the production.

The Australian Ballet proves once again that it is not afraid to challenge its audience. Sensual and deeply moving Manon is an emotionally charged triumph.

5 stars.

Manon is playing at the Joan Sutherland Theatre, Sydney Opera House until 17 May 2025. As well as the Regent Theatre, Melbourne 10 – 22 October 2025.

Run time 2 hours and 45 minutes with 2 intervals

To purchase tickets visit The Australian Ballet