Review: Manon, with The Royal Ballet’s Francesca Hayward and Marcelino Sambé – as bitingly savage as ever

Kenneth MacMillan’s ballet Manon, a staple in The Royal Ballet’s repertoire since its debut in 1974, has made its anticipated return at London’s Covent Garden, marking the opening of the company’s 2026/2027 season. Scheduled for a run of 22 performances with additional shows planned for next June, this revival demonstrates the enduring appeal of MacMillan’s creation despite its frequent staging.

The production, overseen by Laura Morera—former principal dancer and current artistic supervisor for the MacMillan Estate—was met with acclaim on its opening night on October 13. Morera’s staging brought renewed vibrancy and energy to the work, supported by a strong ensemble cast that included Francesca Hayward and Marcelino Sambé in the lead roles of Manon Lescaut and Des Grieux, respectively.

Francesca Hayward, who has embodied Manon for over ten years, delivered a performance marked by emotional depth and technical finesse. Her portrayal captured the complexity of Manon’s character arc, from playful innocence and romantic devotion in the ballet’s first act to the gripping internal conflict faced when choosing between love and wealth in the second act. Hayward’s evolution of the role is evident in her nuanced expressions and the physicality of her dance, especially her delicate pointework and fluid torso movements, which convey Manon’s tragic descent.

Marcelino Sambé complemented Hayward with a sensitive interpretation of Des Grieux, the passionate young student swept up in the turmoil of love and loss. His performance was noted for its expressive clarity, particularly in the demanding pas de deux that showcase the couple’s emotional and physical connection. Sambé’s technique, including expansive arabesques and dynamic turns, resonated strongly with the audience, underscoring the youthful optimism shattered by the unfolding tragedy.

Supporting roles were handled with distinction by Joseph Sissens as Lescaut, Anna Rose O’Sullivan as Lescaut’s Mistress, Bennet Gartside as Monsieur GM, Elizabeth McGorian as Madame, and Nicol Edmonds as the Gaoler. Sissens’s portrayal of Lescaut conveyed a brutal and unscrupulous character, convincingly illustrating the darker facets of the narrative’s moral landscape. O’Sullivan’s performance brought a striking mix of charm and mercenary calculation to her role, enhancing the depiction of the social milieu in 18th-century France.

The ensemble cast effectively evoked the decadence and harsh realities of the period, supported by Nicholas Georgiadis’s notable set designs and sumptuous costumes. Lighting by Jacopo Pantani further enriched the atmosphere, helping to underscore the ballet’s themes of desire, power, and downfall.

Despite the overall strength of the production, some criticism was directed at the musical pacing under conductor Koen Kessels. The slower tempo interpretations of Massenet’s score were viewed as somewhat diluting the intensity integral to MacMillan’s choreography, which thrives on emotional urgency and dramatic momentum.

Manon remains a compelling examination of human vulnerability and social corruption, a narrative that continues to resonate with contemporary audiences. The Royal Ballet’s current revival, as reported by gramilano.com, underscores the ballet’s capacity to confront harsh realities without romanticizing them, maintaining its status as a powerful work of art nearly five decades after its inception.

This production not only reaffirms Manon’s place in the classical ballet canon but also highlights the enduring strength of The Royal Ballet’s artistic vision and its ability to revitalize historic works through thoughtful casting and innovative staging. With Hayward and Sambé’s partnership firmly established as one of the company’s most treasured, the ballet promises to captivate audiences throughout its extended run.