artaturningpointe: Ballet Manila's Swan Lake, A Tribute to Tradition

Ballet Manila's opening gala of Swan Lake reminded me of a popular quote that goes "Dancers are athletes of God". The reference was not because of the blood and sweat that sacrificial dancers go through when mounting a full length but because I saw a cloud of competition gently hovering over the Aliw Theater. Perhaps not everyone understands the magnitude of the challenge Ballet Manila chose to take. Swan Lake in itself is a test of discipline, unity, technique and artistry. It is without a doubt a measure that clearly reflects the competence of a ballet company. In this case it goes beyond that. Ballet Manila's Swan Lake is the third version to be presented in a span of 12 months. Whether the companies intentionally ignited the healthy competition or not, it is there for the taking. Philippine Ballet Theatre showcased the meatier excerpts of the ballet while Ballet Philippines did the full length earlier this year. It is almost serendipitous that Ballet Manila ends the battle of the swans. With two distinctly different approaches to the classic, there is a lingering expectation for Ballet Manila to deliver something palpable. Save the best for last?!

Ballet Manila's version is largely based on the 1895 staging of Marius Petipa and Lev Ivanov. Except for some minor updates in the divertissement section of the ballet, the company boasts of sticking to the original choreography. Fiercely loyal to the Vaganova brand, it seems they are intent on proving that there is value in holding on to tradition. Don't fix what ain't broken, instead make it shine so everyone can recognize it's value. They simply retold the story of the prince who found the cursed Swan Queen Odette in the forest. In mime and movement they allowed the story of deception and redemption of an interrupted love.

The Cast

BM Principal dancer Katherine Barkman came out of the mist and debuted as Odette/Odile in Ballet Manila's opening gala. With an arresting sense of calm and an air of assurance she took her very first arabesque and lingered beautifully. Her next rushes of movement would have the same quiet quality that showed a level of maturity . As Odette she chose to portray an ethereal princess with a weightlessness that was appropriate for the lyrical requirements of the part. But it was as Odile that she won my vote. Her wicked temperament was memorable and so was her imperious fouettes. She denied me of guessing what turn would go next because she confidently shifted from single-single-doubles to continuous doubles. She commanded her legs as she wished and they mechanically obeyed. She was born a bravura but passed the test of performing both roles adequately.

Katherine Barkman as

Partnering Barkman is the newly recruited Guest Principal dancer Joseph Phillips. He was last seen playing the same part in the Ballet Philippines' version. He reprises this role with a different set of steps to adhere to. He whipped four or five pirouettes and did his trademark jumps with the strength of a young man. This time around, I felt his artistry fell short. There were rare but noticeable moments of muted despair and urgency. I will have to commend him however for flawlessly partnering Barkman. Their partnership has a hefty amount of potential. Longevity seems achievable.

Joseph Phillips as Prince Sigfried

Alfren Salgado as the villain was effective. He was an imposing character who grounded his every moment on stage with a devilish flair. His leaps were equally flamboyant.

Among the Company's strongest was Heewon Cho who was refreshing to watch. She performed the pas de trois in the first act and cygnets in the second act. She displayed her ability to sway the audience with her sparkling smile and generous port de bras (movement of the arms) and high extensions. Her turns were beautifully placed and musical. This ballerina was light and lovely.

Heewon Cho in Pas De Trois

Swan Lake would be powerless without an efficient corp de ballet. I would have to say among the three companies they glaringly won the best ensemble award. In strength and in number this corp de ballet was unparalleled. (Their previous staging of Act II was even better) Pictures don't lie. Impeccable lines and photo-friendly arms, legs and level of eyesight. Definitely this fleet of swans deserve applause. Well played indeed.

Denied Preferences
Act 1 was vibrant and lively with an army of beautiful dancers as ensemble and an good trio to enjoy. Act 2 was dramatic and lyrical. Act 3 for me was a bit of a downer because my preferences were not satisfied. While the dancers performed well, I again missed the more dynamic updated versions of character dances being performed by featured soloists instead of the ensemble. It was quickly redeemed by the dramatics that the Black Swan Pas de deux provided. The culminating act closed the show with a strong vision of the Prince and Odette in flight. It was a Nutcracker-ish moment that sealed the story with hope and happiness. A dazzling ending to a very serious ballet journey.

Spectrum of Light and Color
Much has been said about the dancing but it is imperative to make mention the details that helped emphasize it. Jimmy Villanueva's light design is impeccable. Just as extraordinary as the Princess transforming into a swan, the lights had its own magic. Much like the movement of the Swan, the lights were graceful and its every move purposeful. I find it amazing that he is able to go dramatically dark while keeping the dancers' faces luminous. The illusions he creates are powerful.

Worthy
The iconic story that has captivated hearts of many was given justice. Looking at the production in its entirety, it is a lovely tribute to Tchaikovsky's music and Petipa and Ivanov's choreography. Swan Lake is always a good idea, but I would have to say that Ballet Manila is a good place to start if you want a satiating taste of a white ballet. Ballet Manila was right. Keeping traditions can be delightful. Third time is a charm.