Watching two ballets in a single weekend can be quite overwhelming. But because we are talking about David Campos ballets the word overwhelming is an understatement. Definitely Campos seemed quite involved in the creative process as both executions had an edgy touch. From the costumes, to the set, to the choreography there was always a distinct taste level that would consistently rule.
The performances were strategically scheduled with Sleeping Beauty being presented first followed by Giselle. While both productions had their own high and low points, most definitely Giselle reigned superior.
PRODUCTION
Sleeping Beauty was a visual feast. It began with a perky epileptic looking fairy boureeing across the stage with a bit of quick fun footwork. Then the magic began when she started using her wand. Bibbidi bobbidee boo, and out comes a splash of beautiful colors in the transparent screen. After the first came another and another and she transforms the stage into a beautiful fantasy land. The whole stage reflected a painting of beauty. He maximized everything, the front screen, the backdrop even the wings. Perfectly timed and choreographed, it was indeed a magical beginning. The fairy even began to write with her wand. Who says 3d cannot be applied to the theatre?! It certainly felt that way. The oos and aahhhs came after the thrill of something new done in Philippine Theatre and it set the mood for the the fairy tale evening. This would be how it was the whole evening, the set was alive as it (literally) responded to each of the choreography. The aesthetic concept along with the techniques used definitely was strong. You can see that when David has a visual concept it would be carried out as he saw it in his head. The unity of the video, choreography and set design was definitely the biggest achievement of this production.
STORY LINE
As it was advertised Sleeping Beauty, the show was supposed to show a different perspective of the the story. It did what it promised story wise. It showed the original story line of a left out Carabosse putting a spell on the royal baby. The Lilac Fairy then casts a spell to counter replacing death with a deep slumber. Princess Aurora pricks her finger with PLENTY of needles and she falls asleep. Then comes in a new section created by Campos. He shows the audience the Princess' dream within a dream.At first she dreams that she wakes up in a condo and is magically swept up her feet by her Doctor Prince. A pas de deux of love is performed and ends with the princess waking up to reality. She does find her "Prince/Doctor" who apparently lives in the modern times.But it was not quite as romantic as her dream. He brings her to the theatre to watch "Sleeping Beauty ,The ballet" to show her that she now lives in a different time . She watches someone portray herself and goes berserk. From the audience, she runs to the stage and goes nuts and attacks the dancer and has everyone in a chaotic run for your life moment. Then everything dissipates and the original story continues. She is a awakened by her real Prince and they lived happily ever after.
There were flaws in how the storyline flowed. The inconsistency of the characterization,costumes and storyline was a bit bothersome. Since it was kind of the original story with David's additional point of view sandwiched in the middle, it was expected that the the original roles would be portrayed faithfully. In the beginning when Carabosse and Lilac Fairy meets, Lilac shivers in fear. She runs with the baby carrier in all directions in an effort to escape her. When the do meet, choreography showed Lilac Fairy manipulated by his powers and even rollling on the floor. In the second act (dream within a dream) they show Lilac strong enough to fight with Carabosse head on. The Lilac fairy as I know her to be would never ever be scared of Carabosse. She was the leader of the fairies. And it seemed odd that she went from fearful to strong and powerful. Princess Aurora's character also was quite unfaithful to the original characterization. When she was born, she was supposed to have been given great virtues, but a good and proper princess would never have barged that way into a stage moreso jump on somebody. Sleeping beauty supposedly was pricked on her 16th birthday. In this production's version, when she wakes up she hooks up with a Doctor who looks beyond her age, ....awkward. In the end, when the original story resumes and the Prince and Sleeping Beauty Dance away, what era were the costumes from? Ok fine, creative freedom. It must be noted that some of the costumes seemed distracting and unflattering.
DANCERS
Before her departure, Elline Damian was a dependable star in the Philippines. Years have gone by and time did not take away any of her beautiful qualities. She was a breathtaking as Princess Aurora. Her extensions were effortless. Her energy was consistent as she transitioned from classical to neo-classical pieces while maintaining her assigned character. She was particularly commendable in her first variation in Act 1 and her first neo-classical pas de deux in Act 2 (dream within a dream).
Vincent Gros was a good and refined Prince. He looks like an experienced dancer as he commanded the stage every time he was on it. Aileen Gallinera as the fairy was ever so delicate in her dancing.
CHOREOGRAPHY
David Campos is a seasoned choreographer. He is capable of creating pieces that involve you emotionally. Such is the case for the neo-classical pas de deux of the princess and the doctor. It tickled the audience as he used a myriad of emotions packaged in one single pas de deux. Humor, check! Love, check! Technical Difficulty, check!
As a choreographer, he is able to create beautiful movement. I just wished that he re-choreographed everything instead of having his pieces almost compete with variations that have been tried and tested. Marius Petipa was a genius and there were times that the original choreography was just so nice to look at that the new choreography was overshadowed a bit.
VERDICT
Overall, the production was a success. All the elements put together, was proof that change can be a beautiful thing. The dance audience has long been waiting for something new and exciting to happen. This old ballet did the trick. Inspiration is now in the air. Hopefully, the everyone gets a whiff of this new opium.
SHOW DETAILS :
MARCH 23, 2012
CULTURAL CENTER OF THE PHILIPPINES
BALLET DAVID CAMPOS
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