Friday, February 8, 2013

Daragang Magayon: Old but New




If there’s a will there’s a way. All odds were against me today but I really really really really wanted to catch Daragang Magayon at the CCP. They were set to only perform two shows. They open with a matinee and end with an evening gala and that’s it Since I had a  show tonight, I literally had a window of an opportunity to watch the show.  In between all that I had to do, I went . Unfortunately I only caught the second half of the show. Fortunately, it was enough  for me to know that my efforts were not in vain.

Choreography

Having seen only a part of the ballet, one would expect that I have little to say about it. It’s quite the contrary. Only a few have attempted epic ballets. In my lifetime I have only seen two, Julie Borromeo’s Mirinisa danced by the Philippine Ballet Theatre and Daragen at Bantugen by Gener Caringal also by Philippine Ballet Theatre. Perhaps this is because to mount one requires so much work and research. That plus the pressure of adding a bit of commercial value to market the show makes it a daunting challenge.  The little that I saw indeed reflects, blood sweat and tears. I cannot say that the show was perfect  but it was remarkable in its own way.  Watching it , I  knew that the people behind this show put  a lot of heart in their work.
At the end of the ballet, I could not help but feel  so proud of director and choreographer Gerald Mercado. It was evident that he allowed himself to be ultimately passionate and loving of his art. His aesthetic was clear and well focused. His choreography in the second act is reminiscent of Agnes Locsin’s grounded technique. Though his dance vocabulary resembles his mentor, he makes it his very own by his remarkable use of the stage.  His pieces worked because  even with a full stage, he never overwhelmed the audience. He allowed quiet moments  when they were needed.  He was sensitive and emotional in his  story telling. Daragang Magayon and Ulap were never  overshadowed by the crowd.  The show was made up by dancers from different groups not to mention SHAPES and backgrounds. Despite this, I believe Gerald Mercado was able to choreograph highlighting the  dancers’ strengths.
Especially memorable was the  scene of the  male dancers  who were getting ready to  stage their revenge. Energy filled the stage. It was leap after leap from the tribe. Noticeable however was a combination a little too similar to Agnes Locsin’s Moriones where a male dancer  steps up to a mountain created by  fellow dancers and ends with a final  suspended jete.  This was a move made famous by Gerald Mercado himself when he danced Moriones during his glory  days. Perhaps this is a mere coincidence or a subconscious tribute to his mentor?!  Overall, I went home with memories of beautiful movement.

The dancers

I hate to compare because  I hate being compared to others but I can’t help it!  I recently saw Rama Hari recently and I found that the dancers’ and singers’ emotional interpretation were not always in sync. Daragang Magayon can boast that they are triumphant in this aspect.  It was evident that the dancers were well guided in the portrayal of their roles.


Ea Torrado fit her role like a glove. She was born to do this role. Though her exotic beauty had a lot to do with her performance being convincing, it was  her maturity that really  made her performance a success. I already expected the nice extensions and the organic feel because I have seen her dance contemporary quite a number of times. She is after all an accomplished ballerina. What made her performance memorable to me was her authenticity. The show was about an epic, she could have gone cheesy pinoy. Instead she  searched for Daragang Magayon in her heart and delivered a consistently real performance. How I wish the show had something similar to a grand pas de deux. That would have hit the spot.





Victor Maguad is a technically gifted dancer. His classical ballet tricks ( which I do not know the names of) were impressive.  I did however feel that he lacked the strength of a chief. He is supposed to be Pagtugon’s equal but side by side he could have easily been a  side kick. Strength in technique is good but stature is equally important especially if the role demands a particular air.


              





Francis Cascano as Pagtugon, did not disappoint. He delivered a strong emotional performance especially in his solo. I’ve never seen him perform with this much  heart. Definitely a pleasant surprise.
Lastly I must make mention about Roduardo Ma  who played Linog. Indeed a scene stealer. He was a good complement to Pagtugon. He is small ( tempted to say terrible) but  he moves like a giant. His leaps were well defined and were definitely a far cry from every body else’s form. I’m glad he was given a chance to shine.



UHHHMMM

So here’s what I didn’t like about the show. The music, I can’t complain about. It was created by a master in his craft.  I did mind though, the very lengthy parts where there was just music  and nothing else. Ballet is quite visual and when you spend too long a gap between the dancing parts and the waiting parts its bothersome. It feels like you  missed a part when in fact you didn’t. Scene transitions could have been executed more smoothly. It was anti-climactic to say the least.  Which brings me to another thing that disappointed me. The culminating death scene lacked punch. It was over too quickly with the dancers  dead  and stuck on top of the set for what seemed like ages. When they did finally move, I though they were going to dance in the shadow but in reality they were exiting. Oops my bad. I hope they are given a chance to improve and perform this production again.

Verdict 

All in all, there is a reason to celelebrate. A Filipino epic has now been immortalized  because of this show. The story has reached many. That alone is a happy thought. Moreover, a choreographer has  conquered a challenge so beautifully. Dancers were  given a chance to dance a once in a lifetime piece. Singers and musicians were given a chance to perform a once in a lifetime piece. At the end of the day,  I think everybody got what they came for. I certaintly did  I got a taste of something old and new, classic but different. Salute!!!

Daragang Magayon is a ballet adaptation of a Philippine epic. It is the translation of the legend of Mt. Magayon to visual form. It revolves around a maiden, Daragang Magayon  who is desired by many including Pagtugon , chief of  the Iriga Tribe.  Pagtugon  is a political hero who  goes through great lengths to woo Daragang Magayon as he believes that she is a worthy reward for his great service to her people.  But Daragang Magayon  finds love elsewhere. Ulap, chief of tribe Karilaga  at first sight falls in love with Daragang Magayon. She returns his love with equal affection. To the dismay of Pagtugon, they marry each other with the blessing of Daragang Magayon’s father . Pained by this, Pagtugon with  his  right hand Linog  wage a war in revenge. The war ends sourly as all the characters fight to their death. A poisoned  arrow meant for Ulap  was shot but Daragang Magayon saves him with an embrace. She is shot to death but he joins her in pain as he embraces  allowing the arrow to pierce his heart . They die in each others arms. In that very place, a mound was found . As the years passed the mound  grew higher until it became what is now Mr. Magayon.
As indicated in the synopsis “ It is said that every time there is an earthquake(Linog) occurs, it means that an Eruption (Pagtuga)  is about to take place. It is believed that whenever an eruption occurs, it means that Pagtuga is taking back the gifts he once gave to the Daragang Magayon. But the eruption is then followed  and pacified by the rain, or the tears of Ulap, the Cloud that hovers at Mt. Magayon’s peak.”



DARAGANG MAGAYON
ANG ISTORYA NG MAYON

FEB 8, 2013 3PM 
CCP MAIN THEATER 

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