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For opera purists – those with no taste for re-imaginings or tolerance for tinkering – Heartbeat Opera’s innovative productions may not be ideal. But should such folks like to get their feet wet, maybe open their minds a little, the brash New York company’s new Manon! would be a good place to start. The ribald subject matter and delightful music of Jules Massenet’s opéra comique are fully present, while the abridgment is, or seems, less extreme than in, say, the company’s 2023 Tosca or last year’s Faust.
Brétigny’s absence doesn’t cut into the meat of the story in Jacob Ashworth and director Rory Pelsue’s new English libretto, and he is the only significant character they write out. Their version makes Guillot (Glenn Seven Allen) a bit more of his own (rich) man, free to pursue the fun-loving, convent-bound Manon and tempt her with a life of luxury.
Soprano Emma Grimsley doesn’t at first make the strongest impression as Manon. Jamari Darling at first dials down her cousin Lescaux (leaving plenty of room for his extravagant talent – and talent for extravagance – to flare later). Grimsley’s vocal charms present initially as of the Disney-princess variety, and indeed some of her biggest credits are in Broadway shows. But the production’s energy builds quickly, and by the time Manon and the Chevalier des Grieux meet and fall in love in the stirring “Et je sais votre nom,” both are sweeping us away.
This is due in no small part to a ravishing, elfin performance by tenor Matt Dengler as the Chevalier. Dengler too brings a musical-theater background to this romantic lead role. Together, his Chevalier and Grimsley’s Manon lead a fine cast who illustrate how Massenet’s tunefulness, colorful characterizations, and sprightly storytelling, even in a tragedy, presage 20th-century American musicals.
An excellent actor, Grimsley is wonderful in “Adieu, notre petite table,” where, a bit like Garbo in Queen Christina, she caresses the table that has symbolized the runaway couple’s happy, all-too-brief life in Paris. Dengler is equally touching, and as vocally assured, picturing an impossible future for them in “En fermant les yeux.” Later, transformed into an A-list courtesan, she triumphs, in her way, in a sparkling “Je marche sur tous les chemins.” They make the church and death scenes gripping too.
Allen is solid as a glittering, despicable Guillot. Darling makes a smarmy and antic Lescaux, providing comic relief, leaping through some of the boldest of Sara Gettelfinger’s choreography, and shooting one hilarious falsetto note up from the depths of his baritone like a Bastille Day firework. Kathryn McCreary and Natalie Walker are perfectly bubbly and comically spot-on while singing beautifully as Pousette and Javotte respectively.
Dan Schlosberg leads from the keyboard a small, skilled band in his own new arrangements of the score. Though stripped-down, they preserve the music’s kick while supporting its pathos. As for the staging, there’s nothing outrageous, nor especially innovative for that matter, aside from the small chandeliers that create a magical atmosphere in their double-duty as floor-level lanterns. There’s practically no set, leaving director Pelsue and choreographer Gettelfinger the whole of the wide stage to manifest apartment, gambling hall, church, etc. David Mitsch’s period costumes magnificently aid our suspending of disbelief.
No, this isn’t your great-great-grandparents’ Massenet. But I’ll bet they would have liked it, and I’ll bet even opera purists and snobs will appreciate what Heartbeat and Co. have done here. Manon! from Heartbeat Opera has been extended through February 15, 2026 at The Space at Irondale, 85 S. Oxford Street, Brooklyn, NY.
