The Royal Opera House has launched a 22-performance season of Kenneth MacMillan’s 1974 ballet Manon, a work based on Abbé Prévost’s 1731 novel about the turbulent and morally complex relationship between Manon Lescaut and the Chevalier des Grieux. The ballet, which initially received mixed reviews upon its debut, has since become a staple of the Royal Ballet’s repertoire and is performed worldwide, from Toronto to Tokyo.

MacMillan’s adaptation takes a candid and often gritty approach to the story, portraying the teenage lovers as flawed and unprincipled figures who engage in deception, theft, and even murder. Despite—or perhaps because of—their moral ambiguity, the ballet continues to captivate audiences with its blend of dramatic narrative and classical dance. The original score features a collage of pieces by Jules Massenet, which received some criticism at the time for its unconventional nature. The New York Times described the ballet as “mediocre” with “puerile music,” though such opinions have not diminished its enduring appeal.

The current season opened with performances by Francesca Hayward in the title role and Marcelino Sambé as des Grieux. Hayward, who first danced Manon in 2014, embodies the character’s transformation from ingénue to woman of the world, with key scenes centered on the heroine’s allure and the complex dynamics involving her sugar daddy and manipulative brother. Bennet Gartside appeared as the lustful Monsieur GM, while Joseph Sissens took on the role of Lescaut, displaying a combination of comedic timing and strong partnering skills.

The choreography highlights the contrast between the characters’ lofty aspirations and their compromised realities. Sambé’s portrayal of des Grieux emphasizes this duality, blending polished technical movements with moments of frantic urgency and collapse. One notable scene features his character’s stumbling exit, lending a sense of urgency and vulnerability that contrasts with otherwise precise choreography. However, some critics suggested that Koen Kessels’ musical direction was occasionally too restrained, lacking the dynamism to fully complement the diverse score.

The production’s visual design by Nicholas Georgiadis further underscores the tension between opulence and decay, pairing sumptuous brocades with worn, everyday fabrics. MacMillan’s version distills Prévost’s original novel by focusing on the central love story, trimming secondary characters and episodes to intensify the emotional and narrative core.

While Manon and des Grieux are depicted as morally compromised—she as a gold-digger and he as a man stripped of innocence—the ballet’s romantic duets create moments of transcendent beauty and sorrow. This complex interplay of passion and vice continues to resonate deeply with audiences, culminating in a poignant conclusion to their ill-fated romance.