After having watched David Campos' vibrant and techie-savvy Sleeping Beauty, I was anxious to know how he could top it. Was the concept of set and choreography going to be the same ? Was the choreography going to be a fusion of old and new again? I was pleasantly surprised that he had more than one trick up his sleeve. .
David Campos this time did not use the original story. Instead he dug deep and re-interpreted with a realistic plot in modern times. Re-invention of a story ballet is not uncommon. Swan Lake has been reinterpreted by the Trockaderos, Nutcracker by Bejart and even by local choreographer Agnes Locsin. It's always interesting to see how they translate the story. Pre-show press releases mentioned that it resembled a horror story (true!). Statements like that freaked me out a bit as I was afraid the point of the story would be bastardized. In my head were visions of thriller (Oh Dear Lord!)
It started with a video narration explaining the Legend of the Women of
the Waters. The revenge of bruised women empowered by the powers of the
dark waters. The powerful cinematography made the audience gasp. Eyes
widened as if they were expecting a shrill voice expected of a horror
movie. But it didn't come instead it left a taste of what would be a
mind-blowing evening.
Aileen Galinera portrayed Giselle. She was a vibrant, quirky nerdette. She was a geek and was not afraid to hide it. Though she did not seem like a woman who would draw the attention of many, she was playful and confident. Humor came to play as she danced in the first act . She meets Jesus Pastor who plays Albrecht, the heart throb. Level 1 introduction. Level 2 HHD, holding hands while dancing. Level 3 Sneak off into the moonlight. Oh how fast nights like these go. As their date progresses, they come across goons who try to mob them. During the fight however, Albrecht had a window of opportunity to escape and he does. He leaves Giselle to the wolves, a betrayal he will later regret. He later finds her unconscious, barely breathing. He brings her to the hospital and together they fight death, him with his prayer and her with her body fighting inch by inch. She dies and he is overcome with grief. The legend of the waters unknown to him he goes to the cemetery near the waters to offer his flowers and his heartfelt apology. When he enters the area of dark mystery, Giselle sees him. She appears in a different form. She has already transformed into a woman of the water. Pain and anger overpowered her body so much so that she was lured to the water to live as one of the women who seek revenge. When she finally saw him. . . . she takes a moment to look at herself with regret for what she has become. It seemed even as a ghost, she still cared about him. She regains her composure and goes to him and whispers to him . She brings her hair over his face and makes her presence felt expecting him to flee just like the other men who have felt the eeriness of the waters. He grabs her hand. Silence. . . . he looks at it caresses it, kisses it. He cries. Giselle is shocked. He cared after all. They dance passionately and for that moment they pretended that love could still be. But darkness was filling the night air. She knew he would not survive the night. She tells him that he must flee but he refuses. The women arrive and begin their moment of revenge. She fights for him...... He survives. Albrecht gets to live another day. The man won, and so I thought. It started with a video it ended with one. It showed an old man. . . . walking towards the waters. With tears in his eyes and flowers in his hand, he reaches down to see the face of his Giselle. But unlike the introduction where it showed the women swimming in the water with sadness in their eyes, Giselle was seen in the water smiling at Albrecht. Love conquered all.
David Campos' ballet was like a Nicholas Sparks film. Undoubtedly moving. I didn't cry in the theatre. I went home emotional, and I told my husband what I had seen. Then I cried. Only then did I realize how much I cared about this production. The story was simple and relatable but what was special about it was that it allowed the audience to see Albrecht in a new light. In the original ballet, Albrecht betrays her for a different reason but he does not get to pay for his sins. In David Campos' creation, he pays with it with a life of regret. He redeems himself by letting the love that could have been flourish even after death. Tears in my eyes.
The choreography was fresh and engaging. Most importantly it was always emotional. The movement was always in sync with the scene. In the last scene, Giselle again puts her hair on his face. This time, she executed it differently, frantically. Some people giggled, but I understood. This time she wasn't merely making her presence felt. She was holding on. She was battling with the thought they both had to let go. Again tears in my eyes. Perhaps some people would find the "Monster Women" scene where the women come out of the water funny because of the jarred movements ( some people again were giggling ) but i felt it was appropriate . The women after all were there because of the weight of their pain. Also there were parts where found his choreography inventive and refreshing. Take into consideration his take on the peasant pas de deux. Instead of a duet he had a waitress ( a peasant ) do a solo. It was a small moment of distraction but it did honor the original concept at the same time it added texture and atmosphere to the story's reality. In Act 2 of the original ballet Giselle is lifted by the danseur in series as if she were floating or flying in the air. He took note of this and re-choreographed it with his own series of surprising lifts that came out of nowhere evoked the same emotion. He took the scenes and made it his own. B. Of course there were the obvious inspirations such as the willis chugging and gliding as they sliced through the fog and Act 1's peasant celebration where the dancers dance to a cross formation which were amusing too.
Aileen Gallinera's performance was outstanding. No words can describe how proud I was sitting in that chair seeing her have the best performance of her life. I've always admired her for her technique ( and for being the humblest dancer I know ). But seeing her bare all her emotions and hitting every step perfectly definitely impressed me. Love and years in Spain has done her well.
Jesus Pastor had amazing technique. I'm a bit hard to please when it comes to male dancers seeing that my husband is just so good but he's that good. His leaps were high. His extensions were beautiful. His pirouettes always ending beautifully with a suspended moment. Most especially, he was an emotional dancer.
At the end of this ballet, I was a fan of David Campos and his company. The choreography was beautiful. The dancers were beautiful. The cinematography,set and new music were beautiful. His faithfulness to the essence of the original Giselle was admirable. Nothing excessive or ostentatious, just a beautiful story of dance. I'm glad I made it to the theatre.
Aileen Gallinera with her PBT Friends
David Campos with Mrs. Felicitas Radaic (Artistic Council PBT)and Ms. Cha Cha Camacho (Pres. PBT)
SHOW DETAILS :
MARCH 25, 2012
CULTURAL CENTER OF THE PHILIPPINES
BALLET DAVID CAMPOS
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