Ever since I was young, I've always believed in giving respect to the theater. The stage to me is not just a venue but a representation of the collective triumphs of artists. It is a place that glorifies the hard work of artists. More importantly it is a place that sends a message to non artists that the artist's life is worthwhile. Having said that I always get disappointed when newbies perform in their comfort zone and calculate every move they make. When that happens it feels that the stage was was not given ample respect. Personally, heart always weighed more to me than any other factors of a show. Ballet Manila's Romeo and Juliet affirms that they have attained a level of maturity that practically ensures that each dancer understands the concept of going full out. I saw an ensemble that offered their heart for the taking. Ballet Manila was a picture of youthful endurance, artistic freedom and generosity. No doubt about it Romeo and Juliet will always focus on the leads but it was refreshing to see an ensemble fully invested in telling a story. They supported the characters con gusto with their dynamic execution of the quick-footed choreography.
Katherine Barkman as Juliet showed that she was a sensitive artist. The ballet required numerous arabesques but each seemed different as she swept across the floor with a different breath each time. She paced her emotions with care as if to ensure that the audience felt everything with her. She had the audience ( well me at least) aching for a different ending even if everyone knew the story's tragic ending. Layers of emotion unfolded like beautiful colors. I particularly enjoyed the balcony scene and her death scene. On a technical note, I love how her feet melt down nicely on the floor. The choreography requires intricate transitions in the pas de deux which she performs with complete trust in her partner.
Rudy De Dios as Romeo was charming. He was focused on his portrayal of the love stricken man tortured by thoughts of distance. I would have wanted to see a more boyish Romeo in Act 1 to establish the contrast as he introduces a more mature man towards his death.
Barkman and De Dios are competent dancers. Their partnership was clean but despite their physical compatibility but did not have the Nuryev Fonteyn magic all couples aspire for. Truth be told, I thought the elegant Mark Sumaylo would be a good Romeo to Barkman. Organic chemistry was not quite there but I believe through time they will be able to make converts out of people. Eventually there will be a clamor for team KatheDy.
Newbie but goodie Jasmine Pia Dames sparkled as the Mercutio's harlot. Teamed up with Gerardo Francisco, they gave a remarkable performance. The unlikely pair commanded the stage. Despite her height, it was hard to miss Dames' energy. She obviously enjoyed the spotlight. She made use of her seconds of fame. I silently cheered for her as she joyously leaped, kicked and turned. Her size is quite a challenge considering Ballet Manila's roster of tall dancers but her performance was just too good not too notice.
The legendary partnership of Lisa Macuja and Nonoy Froilan on stage had me snapping away like a crazy photographer. I didn't want to miss a single moment. This was a beautiful reunion. I honestly didn't expect much dancing from the couple as they played character roles but Paul Vasterling had them lunging, lifting and backbending. All of which were of course done in the highest standards possible.
The ballet performed was the vision of Paul Vasterling who is currently CEO and Artistic Director of Nashville Ballet. Ballet Manila is the first to perform his version in Asia. What makes his version unique was the pace of his story telling. Romeo and Juliet usually clocks in at least two hours and a half without intermission. This however was an audience friendly ballet. It was a speedy performance that was easy to ingest. Compared to other versions this has more technical dancing to enjoy. Juliet's friends even had mini solos consisting of different turns including fouettes. My only disappointment was that when Tybalt died, Lady Capulet's time to grieve ended too quickly. This is usually one of the highlights of the ballet but it seemed like it was done in a minute. Lisa Macuja is an excellent actress and I would have enjoyed seeing her milk that scene leaving the audience in tears. Instead we had to move on to the next scene.
To end, Ballet Manila's tragedy had a happy ending, with an appreciative audience clapping until their hands hurt. With good ballet technique, inventive choreography and a committed cast, success is inevitable. Substance on a platter simply works. Perfection can never really be achieved but that was a pretty darn good effort to stay on top. Bravo Ballet Manila.
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