I wanted to complete Lisa Macuja’s Swan Song Series. I
wanted to see her do her final interpretation of Medora. However, I was far to
excited to see Principal Dancer Mylene Aggabao-Salgado’s return to the stage. As
always, when a dancer gives birth, eyebrows raise in doubt whether a comeback
is possible. Not me, having followed her career from its roots I was certain
that the universe would conspire and
allow her to reign supreme on stage. I wish I had bet on that opinion as I was
100% accurate. Mylene Aggabao-Salgado performed effortlessly as Medora. She nailed
every step with agility and her usual technical ability. Triple pirouettes and
triple lame duck turns onstage are rare but they just kept on coming. I’m glad
that she was victorious against fear and doubt. I guess its true what they say,
happiness blinds out fear . Maybe it’s the arrival of her beautiful baby girl
or maybe its because she’s happy to be back on the spotlight but she shines
better now than ever. She managed to evoke a richness of character that I have
not seen from her before.
Her level of performance however proved to be a feat for her Conrad played by Junmark Suymaylo.
Every bit of a charmer, he partnered her beautifully. However it was clear from
the beginning that he has a lot more to go to dance at par with Ballet Manila’s
principal dancer. Not to be misunderstood, this is not to say he danced poorly.
He is quite a dramateur, quite pleasing to the eye.
Finally I got to see
Michael Divinigracia in a role that
could truly showcase his talent. He played Ali, Conrad’s able slave. He
did not disappoint. He delivered his tricks with just the right touch of humility and strength required for the role. I was thoroughly
pleased.
Much can be said about all other factors of the production but I guess strong dancers make all else forgivable. No need to expound on the sad opening set of cartoon waves and a static miniature boat. No need to expound on the sadly heavy looking corps de ballet in the garden scene. (Yes ballet can be unforgiving when it comes to physique. That's just the way it is.)
To sum it up, Ballet Manila’s Le Corsaire was more about
revelations than the story. Forgive me
for the cliches that you are about to hear but simply put, the show proved that
they are indeed true.
1
Never underestimate a woman, especially
when the woman is Mylene Aggabao-Salgado, someone empowered by her passion for
the art.
We
are all stars in the making. Our
dear Conrad has everything he needs to be a star. All he needs is a little bit more dedication to
the barre and he might as well claim stardom.
3
Good
things happen to those who wait. Such is true in the case of Michael
Divinigracia. I hope Ballet Manila sees what I see in him and gives him more
challenging roles.
Le Corsaire “ The Pirate “ is really about a story that
comes full circle. It’s a story about taking on a challenge with the odds
against the heroine and ends with empowerment.
I find it fitting that Ballet Manila has chosen this story ballet as part of Lisa Macuja’s
Swan Song Series. Though it is probably because
the ballet is one of their flagship gems, I find that it mirrors Lisa
Macuja’s timeline of success for Ballet Manila. Very much like Medora (the
ballet’s heroine) Lisa Macuja gambled
big time when she built Ballet Manila, the only private classical ballet
company in the Philippines. Now as her Swan Song Series comes nearer to its
end, the company stands strong empowered by a whole history of battles won,
stars born and seasons under their belt.
Medora was not only enamored by her Pirate Conrad, she also set a goal
to give people their freedom. Lisa Macuj has done just that with Ballet Manila.
Ballet Manila in their own way has found a way to marry their one true love of
ballet and at the same time reach out to masses who are thirsty for the beauty
of ballet. They have freed people as well and allowed them to be special
because of their programs. Indeed something to celebrate.
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