REVIEW: ‘Carmen and Other Spirits’ is a Loud Call to Action

 

Republished from Theaterfansmanila Nov 1, 2023 

This four-part mixed bill performance offered by Alice Reyes Dance Company Philippines is a loud call to action from different generations. The performance was a curated show featuring three choreographers of different ages highlighting what was (or still is) relevant to them.  

The curtains opened to Alden Lugnasin’s “Swimming the Ilog Pasig” which was a social commentary on how indifferent we have become to the glorious Pasig River and the environment that it adequately represents.  It was then followed by “Two” choreographed by Ronelson Yadao which was a life commentary about the duality of people. Next was Lester Reguindin’s “Now”, an environmental commentary about climate change. Lastly, Alice Reyes’ “Carmen” is still a social commentary about the strength of the woman. 

It may not have been done on purpose, but for this author, it looks like a snapshot of what was important through the decades: eighties, nineties and, now. It’s intellectually filling to see pieces with a lot of depth and history. These kinds of pieces will be seen by the next generations with a different perspective but they will have an idea of how things were during the lifetime of these choreographers in a beautiful way. 

Swimming the Ilog Pasig

Swimming the Ilog Pasig by Alden Lugnasin; Photo Credit: Erica Feliz Marquez-Jacinto

Alden Lugnasin’s piece “Swimming the Ilog Pasig” premiered in 1989. At that time, highly graphic images of the Ilog Pasig, filled with trash, were widely discussed. When Ballet Philippines II performed it, the piece had a strong impact.

Years after, this restaging performed by ARDP still resonates with the audience even if the Ilog Pasig is no longer front-page news. The piece starts with the innovative use of bleachers that allow the audience to zoom in on the beautiful movement Lugnasin sets on the dancers. Using the aesthetic of synchronized swimming, he exhausted all possible visuals capturing a swim.  

Lugnasin’s intricate silhouettes demanded a high level of technique, agility, and body strength from the dancers. The dancers delivered with precision and stoic commitment. In the beginning and towards the end of this piece they scream the word “Hoy!” as if to call out what the people have done. As they scream, they look at absolutely nothing, but this simple word already did its job and triggers the mind to imagine what damage they are referring to.  The word encapsulates the disgust for the status quo. I felt it. 

Two

Two by Ronelson Yadao; Photo Credit: Erica Feliz Marquez-Jacinto

“Two” choreographed by Ronelson Yadao is a piece about how people need people. It’s a duet that really is just about energy bouncing off from one to another. Monica Gana and Tim Cabrera showed off their seamless footwork, drops on pointes that transition to the next set of difficult steps. 

In this piece, the two dancers hardly let go of each other with each step stitched to the next. “Two” is a showcase piece with a simple message, one cannot live alone. It may not have represented that message strongly, but it did showcase beautiful dancing. 

Now

Now by Lester Reguindin; Photo Credit: Erica Feliz Marquez-Jacinto

“NOW” by Lester Reguindin was just so poetic. It is devoid of any frills and delivers a story so pure and so truthful that it will make you feel part of the story. Inspired by Greta Thunberg’s speech on climate change, his piece started with a young girl played by Janine Arisola completely enamored by her perfect world. The dancers were her nature organically moving with her.  

Playfully dancing with nature,  Arisola showed the innocence of a child appreciating the world’s beautiful gifts. Her momentum is tragically broken by the realization that her world and her future are under attack. Men in suits came in with chairs and her bodies of nature started to wither. 

As the music transitions to excerpts of Greta Thunbergs’ speech, the child in Arisola is distraught. In Arisola’s solo, she articulates the words of the speech as if it were her own. The words were expressed so well in movement that the audio almost seemed like she was speaking it. With her small frame, she gave life to every movement given by Reguindin. 

She projected her movements with boldness and with so much clarity and passion that she triggered an overflow of emotion much like how Greta’s impact was when she spoke out to the world. There is a picturesque moment in this piece where the men in suits dance as if they were belittling her. They appear larger than life in massive shadows that would scare any child.  

But the movement and the words came together. Scared she was not. Verbatim, “How dare you? We will never forgive you. We will be watching you. I deserve better.” And as the men stopped to listen in their chairs and slowly danced in unison with Arisola’s call to action. His art much like Greta Thunberg’s voice cannot be silenced. “NOW” actually stands for NEEDS OF THE WORLD that need attention now. In this staging, Regindin demands your attention.  

Carmen

Carmen by Alice Reyes; Photo Credit: Erica Feliz Marquez-Jacinto

Last but not the least is Alice Reyes’ “Carmen”, a fitting ending to this mixed bill. I can only imagine that when “Carmen” premiered in the eighties, it raised eyebrows with its anti-hero theme. Nobody is an angel in this story. Contrary to what is expected, this version is about Don Juan’s narrative, not Carmen’s. It was a tale about a man losing every shred of dignity he had because he loved a woman like Carmen. 

In this staging, Carmen was a picture of confidence and freedom. She believed that love was fleeting and lingered indefinitely. She lived for the moment. She knew what she wanted and unapologetically demanded for everything she wanted. In full contrast, Don Juan was weak, compromising, insecure, and temperamental.  

Macel Dofitas and Richardson Yadao who took on the lead roles, fully committed to these characters. With their authentic chemistry, nothing was manufactured in their portrayal. Dofitas was like fine wine, full-bodied and rich. With each scene, she became sweeter with her charisma and her movements commanding the stage. Yadao on the other hand was sensitive in his portrayal and put all the attention to his narrative. 

While their onstage love story ends tragically in death, their love scenes were swoon-worthy. Reyes cleverly crafted a beautiful pas de deux for Don Juan and Carmen. The choreography was made with nuances that made both an impact on aesthetics and storytelling. 

Dofitas with the power of a soft touch would melt Yadao and make him quiver and succumb to a back bend. She would swirl around her hips and he would lift her in the air with her lithe body in the musical climax and she would descend sensually with her body pressed on his.  

Particularly memorable would be the partnering combinations that would be executed while the two were locked in a kiss. Technically very difficult to perfect but these two leads did them organically. Carmen in these scenes commanded the relationship and Don Juan overcome with emotions embraced the excitement. 

While there was love at the center of their pas de deux, it never was the same amount from both parties. The same attention to detail can be seen throughout the ballet. Reyes seemed to have laced every scene with poetic expressions. This ballet shows depth, a wealth of movement vocabulary, and masterful skill of storytelling. What better proof of this than the touching last scene of Don Juan’s death. 

After sharing his story, he walked towards the end of his life. Yadao ascended the stairs shaky with emotion. Embraced by darkness, he looks up at the light and ever so gently hinges while the light dims and covers the stage in total darkness. The sets themselves were also a sight to behold. 

Salvador Bernal’s architectural design approach really framed the scenes well. While I loved this ballet over all, there were a few things that bothered me. I love the incorporation of flamenco music by Antonio Olsera and Paco de Lucia  in this ballet. However, some of the musical transitions were a bit rough. Mixing music is a challenge because the temperament and texture are not aligned. Also, because the music is recognizably flamenco, the dancing needed a bit more attention to detail for refinement. Flamenco requires specific wrist and finger movements to make it convincing.

Dofitas was generally excellent in her acting but I also would have liked to have different looks of love for each of the men she was involved with. I also would have loved to see this entire ballet on pointe similar to other adaptations. These little details did not significantly take away from performance but they did linger in my thoughts as I was watching the ballet. 

Overall, however, in “Carmen”, the message was clear: who runs the world nowadays? Girls. 

 

Tickets: Orchestra Center │ 2,500 Orchestra Side │ 2,000 Loge │ 1,000 Balcony 1 │ 500 Balcony 2 │ 350 Show Dates; October 20, 2023 | 7:30 PM October 21, 2023 | 4:00 PM Venue: Samsung Performing Arts Theatre Running Time: 1 hour 30 minutes (including a 10 minute intermission)

Credits: 

Choreographers ( Swimming the Ilog Pasig) Alden Lugnasin, (TWO)  Ronelson Yadao (Now)  Lester Regindin (Carmen) By Alice Reyes 

Artistic Director : Ronelson Yadao 

Cast: 

Swimming the Ilog Pasig 

John Ababon, Dan Dayo Erl Sorilla, Renzen Arboleda, Sarah Alejandro, Katrene San Miguel, Karla Santos, Michaella Carreon, Krislynn Buri

Two

Tim Cabrera, Monica Gana 

Now 

Soloist: Janine Arisola

Ensemble:John Ababon, Dan Dayo Erl Sorilla, Renzen Arboleda, Sarah Alejandro, Katrene San Miguel, Karla Santos, Michaella Carreon, Krislynn Buri,Monica Gana Gianna Hervas, Cehska Vasallo, James Galarpe, Fasutina Francia Alejandro, Cris Jay Malipot, Erica Patoc , Kamille Bautista 

Carmen 

Lead Roles : 

Carmen Ma. Celina Dofitas

Don Jose: Richardson Yadao

Prosper Merimee : Erl Sorilla

Escamillo : Renzen Arboleda 

Zuniga: Ejay Arisola 

Ensemble:John Ababon, Dan Dayo Erl Sorilla, Renzen Arboleda, Sarah Alejandro, Katrene San Miguel, Karla Santos, Michaella Carreon, Krislynn Buri,Monica Gana Gianna Hervas, Cehska Vasallo, James Galarpe, Fasutina Francia Alejandro, Cris Jay Malipot, Erica Patoc , Kamille Bautista , Christian Valerio, Justin Joseph Fraginal, Ricmar Bayonete, Lester Reguindin

REVIEW: ‘Ibong Adarna’ is a vivid dream come to life

REVIEW: ‘Ibong Adarna’ is a vivid dream come to life

Republished from https://theaterfansmanila.com/review-ibong-adarna-is-a-vivid-dream-come-to-life/  Aug 25, 2023 by Erica Marquez-Jacinto

       Abigail Oliveiro As Ibong Adarna

The most beautiful aspect of the universe is that each day offers an opportunity for metamorphosis. We have the choice to grow through what we go through. Ballet Manila’s triumphant Ibong Adarna 2.0 is a manifestation of this beautiful gift.

Ballet Manila went through hell and back when they lost their theater. It also suffered through the effects of typhoon after the typhoon, endured a prolonged pandemic, and weathered the loss of many strong dancers and scholars. But it seemed like the pause button helped them gather strength and cultivate creativity. Ibong Adarna seemed like a raw but promising ballet in 2017. It was a vibrant first take on the Filipino story. As time went on, Choreographer Gerardo Francisco let the ballet evolve alongside him.

The ballet narrates the timeless tale of a sick king who seeks healing from a mythical bird known for its heartwarming, therapeutic melodies. In the quest for the Adarna, the brothers reveal their true natures, with the youngest Prince shining as the pure-hearted savior of the King.

Rousing introduction

This ballet begins with a bold introduction of the three Princes who would pursue the Ibong Adarna to save their father. This “bold” beginning, a tour de force, is sure to rouse any viewer. Under Diwa de Leon’s compelling rhythms, the Palace springs to life with the ensemble evoking the energy of a spinning class. What better way to start a ballet than with an energetic opening from the men and women of the ensemble? Within minutes, they succeeded in capturing the attention of the audience. This lively tone persists throughout the ballet, sustaining the audience’s engagement, much like the effects of caffeine.

This is preceded by mini solos of Mark Sumaylo (Don Pedro), Romeo Peralta (Don Diego), and Don Juan (Joshua Enciso). Each dancer maximized their stage time by differentiating themselves well– Sumaylo was the strong eldest brother, Peralta was the brusque middle child, and Joshua Enciso was the young and innocent and kind prince. These three royals took us on a fabulous journey of humor, action, and light drama in their pursuit of the mythical bird.

Changing with the Times

Ibong Adarna

Abigail Oliveiro as Ibong Adarna; Photo Credit: Erica Marquez-Jacinto

Upon its 2017 premiere, this ballet received multiple awards, signifying its notable qualities. It also had all the frills that could make a ballet stand out. They had a majestic set that would really transport you to Francisco’s Kingdom of Berbanya. They had Lisa Macuja take on the role of the queen, undoubtedly drawing in audiences. They had famous actor Bodgie Pascua narrate the story, Gia Atchison Macuja perform the Adarna Arias live, and above all, they had a battalion of dancers. In this revised staging, the ballet had none of the frills. Stripped down to a minimal set, no guest artists, and a significantly smaller company, Francisco presented his revamped ballet, demonstrating that the ballet’s greatest strength lies in its solid choreography.

Francisco enhanced his already challenging choreography while retaining the finest aspects of the original staging. Virtually every segment of the ballet received an upgrade. The ensemble work reached a level of perfection, spotlighting Ballet Manila’s emerging generation of young male dancers. The performance featured an array of opportunities to showcase jumps and visually appealing unisons. In addition, various choreographic nuances were introduced, including noticeable influences from breakdance and hip-hop. The dance style also transitioned from a neoclassical ballet execution to a more rugged and contemporary flair.

The storytelling was significantly faster, and scene transitions were now seamless. Each scene maximized choreography, making repetitive mime much more understandable for the audience. Additionally, elements that previously felt awkward, such as the Alitaptap and monkey scenes, were now delightful to watch.

As this ballet was revamped for touring, the massive sets were substituted with projections. The projections really gave the ballet a fresh look, often resembling dancers within 3D paintings. Notably striking was the amazon women scene where the lead Stephanie Santiago looked like she was conjuring fireballs while dancing. Equally unforgettable was the enchanting visual of the tree of life, framing Abigail Oliveiro as the Ibong Adarna.

Expected Charisma

The leads of this ballet delivered as expected. This particular group is really the storytellers of the Company. 

Oliveiro delivered a strong performance. With her impeccable extensions and sharp footwork, she shifted from a performance reminiscent of the Russian Firebird to a distinctly Filipino portrayal. She was elusive and regal but she showed more warmth and charm as the bird that saved Berbanya. 

The royal trio, Sumaylo, Peralta, and Enciso, exuded regality and technical skill. Their biggest achievement however was clearly showing that the good always wins. Enciso as Don Juan was perfectly cast as he appeared visibly younger and really looked like the underdog. With Sumaylo’s warrior-like physique and Peralta’s bigger than life portrayal,  Enciso looked like a young innocent boy who could do no wrong. Enciso enamored the audience and really made them root for him as the boy who could save the kingdom.

Ibong Adarna

Eva Chatal as Queen Alitaptap; Photo Credit: Erica Marquez-Jacinto

Stephanie Santiago as Queen of the Amazon Women; Photo Credit: Erica Marquez-Jacinto

Noteworthy are Eva Chatal (Queen Alitaptap) and Stephanie Santiago (Queen of the Amazon Women). Chatal’s beauty was illuminated in the darkness, her elegant lines clearly visible as Sumaylo partnered with her. While her scene was somewhat lengthy, it added a touch of the magical essence that ballet demands. On the other hand, Santiago fully embodied the spirit of the Amazon woman. Her leaps sliced through the air like darts, exuding power even during her moments of stillness. Anselmo Dictado, portraying the king’s assistant, also exhibited unwavering commitment. His leaps and tricks showcased impressive technical prowess. Noah Esplana, however, stood out as the most surprising revelation. Despite having fewer significant scenes as the Ermitanyo and medical advisor, his few minutes of dance reintroduced him as a pivotal figure. His contemporary skill set left a strong impact, and his emotionally charged performance was truly moving. He’s certainly someone to keep an eye on.

The strength of this ballet is heavily derived from Francisco’s choreography and Diwa De Leon’s captivating music. However, the narrative itself, a magnificent piece of literature, has undergone numerous adaptations. Fortunately, Ballet Manila did justice to the beloved tale of Ibong Adarna.

What adds an interesting dimension to this version is its ongoing growth as a living piece of art. Witnessing its evolution was truly invigorating—it felt like a vibrant dream brought to life. This ballet stands as living proof that beauty can thrive regardless of the circumstances.

Tickets: Orchestra Side- P1000, Orchestra Center P2,000

Show Dates: August 19, 2023, 7:00 PM and August 20, 2023, 5:00 PM

Venue: Aliw Theater 

Running Time: 1 hour 45 minutes (including a 15 minute intermission)

Credits: Gerardo Francisco (choreography and libretto), Diwa De Leon (music composer and arranger), Anjie Blardony Ureta (set design), Otto Hernandez (original production design), Winter David (set design revisions and fabrication), Make it Happen Workshop (costumes/ accessories), Joaquin-Jose Aranda (lights design), Joyce Garcia (visual design), Shallah Montero (lyrics for 'Song of Adarna'), Jeanne Vicars (backing tracks vocals)

Featured Cast: Abigail Oliveiro (Adarna), Joshua Enciso (Prinsipe Juan), Mark Sumaylo (Prinsipe Pedro), Romeo Peralta (Prinsipe Diego), Rissa May Camaclang (Reyna Valeriana), Reparado Marino Jr. (Haring Fernando), Noah Esplana (Albularyo/Ermitanyo), Anselmo Dictado (Alalay ng Hari), Eva Chatal (Reyna Alitaptap), John Ralph Balagot (Lead Hunter and Monkey), Stephanie Santiago (Lead Amazona)

Ensemble: Alvin Dictado, Jamil Montibon, Jefferson Balute, John Carl Concepcion, Raymond Salcedo, Rodney Catubay, Sean Kevin Pelegrin, John Stanley Alamer, Juan Angelo De Leon, Jasmine Pia Dames, Jessica Pearl Dames, Shaira May Comeros, Jessa Balote, Angelica Tagupa, Celine Astrologo, Elyssabeth Apilado, Marinette Franco, Shamira Veronnica Drapete, Judith Po, Ainslea Esplana, Angelica Tagupa, Janell Marie Mateo, Lorraine Gaile jarlega, Andrea garcia , Germaine Dawal, John Sixto Dones, Angelou Gamayon

Philippine Dance History ; Freedom to Choose the Filipino

After the blistering effect of the pandemic, the 2023 dance season of the major dance companies seemed to carry more weight. All four ballet companies Philippine Ballet Theatre, Ballet Philippines, Ballet Manila, and Alice Reyes Dance Philippines fought tooth and nail to fight for their companies' art. They had to fight to keep funding. They had to fight to keep their dancers. They had to fight to keep their audience. With CCP closing its doors and casting a shadow over its 2023 season, you would think the return to stability would be choosing a safe repertoire that can surely make money. Thankfully not everyone went this route. Despite the uncertainty, it looks like there is a thirst to regain a voice, a platform to use to advocate for Filipino themes. 

Alice Reyes Dance Philippines opened its season with an epic restaging of Encantada choreographed by no less than National Artist for Dance Agnes Reyes. While this masterpiece is well-loved by the dance community it attracts a specific niche market. In a way, it alienates the ballet kid market because of its dark theme and specialized genre. Their risk paid off with masses of people shouting out praises for a meticulously prepared high art project presented to the people. Your guess is as good as mine if you ask me if it made money. To me, at this point, it shouldn't matter. It put a barely one-year-old company on the map. It showed a passionate display of commitment to preserving Filipino masterpieces and giving dignity to the work of Filipino collaborators. It was not just the ballet that was gloriously lauded by many, it was also the pulsating music of Joey Ayala and the bold  libretto by Al Santos.

Philippine Ballet Theatre will open Ibalon the ballet this coming July 28 and 29, 2023 at the Samsung Theatre. It will tell the perspective of one of the stories of Bicol that has been passed on for generations and generations by mouth. They too will take a risk and present a product of a full collaboration of Filipino Artists. The ballet is choreographed by the company's artistic director Ronilo Jaynario, with music by Paulo Zarate with special effects by Fortunato Co and Enrico Navarro. The ballet has not even premiered yet it has gained so much attention from the music, theater, and dance community. The support for this ballet shows that there is a thirst for something Filipino-made. Perhaps PBT has more to lose if this ballet does not earn well. Looking at ticket availability, Ibalon already has made a tiny win for PBT. Wouldn't that be great if this ballet is received with intensity?! It would a be beautiful statement,  "Choosing Filipino is rewarding". 

Ballet Manila will close its 25th season with Gerardo Francisco's Ibong Adarna this August 19 and 20, 2023 at the newly renovated Aliw Theatre. As known to all this ballet is also a product of an all-Filipino team. The music was composed by Diwa De Leon, the script was written by Angela Blardony Ureta, and the costumes and sets were by Make It Happen Workshop. While global exposure and collaborations are fruitful, it's always nice to see the products of an all-Filipino team. It's a pity that school is on break because this would have been a perfect education tool for the youth. It certainly breaks down the story in a memorable way. I have seen this ballet many times and it has evolved each time. I'm pretty sure the new serving will be a crisp showing of Filipino literature. 

As the controversial new Department of Tourism campaign says "Love the Philippines" in a deeper manner. These companies have already made a statement by choosing to make the stage their platform to show the glory of our Filipino artists. Maybe it's time the locals made time to follow their lead and support Filipino dance collaborations. It's a guaranteed win. Our presence in the theatre helps immortalize the work that was done, it helps our dance companies thrive not survive and it helps spread Filipino stories. It just feels like the right decision to choose Filipino as we regain our freedom to see more art. Let's celebrate the greatest blessing coming out of the pandemic. Let's use our newfound ( and much-appreciated) freedom to be Filipino. See you at the theatre. 

Check out these links to find out more about their shows. 

1. ARDancePH

RAMA, HARI (Upcoming show) 

September 15-16, 2023 | Metropolitan Theater September 22-23, 2023 | Samsung Performing Arts Theater

2. Philippine Ballet Theatre

July 28-29, 2023  | Samsung Performing Arts Theater

3. Ballet Manila Official 

August 19-20 2023 | Aliw Theater, Pasay City

Philippine Ballet Theatre’s Ibalon Claims the Power to Create and Collaborate

 

Philippine Ballet Theatre will officially open their 37th season with an all-Filipino ballet called Ibalon. Lifting from the full-length epic from Bicol, Artistic Director and Choreographer Ronilo Jaynario focuses on the love story of Handyong (The Warrior) and Oryol (The Cursed Creature). Indulging in creative liberties, he created nuances and plot twists to make the story a powerful display of love in movement. He hopes to leave audiences captivated with colorful dances inspired from Luzon, Visayas, and Mindanao. 

 This ballet is the brainchild of a seamless collaboration between PBT artistic director Ronilo Jaynario a visionary who has redefined the boundaries of ballet and Paulo Zarate  a renowned  composer who has the power to weave emotion into every scene.   Jaynario who hails from Bicol himself wanted to take a step towards immortalizing Filipino stories. When he met Zarate, he was so moved by his compositions and the dancers that the choreography was so organically created. Zarate himself committed to making a Filipino story make a mark in this day and age. He wanted a clear emotional pull that would sound remarkably Filipino. He would attend all the big rehearsals and adjust to insert nuances that he believed would help highlight the ballet’s biggest moments with cinematic appeal. 

The dancers have been so excited to breathe life to this ballet. Jessa Tangalin who plays Oryol said “I saw how our Director and Choreographer crafted this ballet. Sir Ron comes from Bicol which is why I think he’s much more particular on how he translates the epic story of his hometown into movement. He has given us volumes of challenging choreography but has given us so much room to explore our respective characters. The experience of seeing passionate choreographer collaborate with us with a story so ingrained in his childhood is enough motivation to do good.  Matthew Davo who plays Handyong said “ I feel so privileged that I was given a chance to  play a hero in a story that shows Filipino values and  identity. Creating his character was one of my career’s milestones”. 

With Ibalon generating interest, the company has had multiple legends share their wisdom about Philippine dance and roots. Rosky Hilado and Monette Co both principal dancers of the Bayanihan Dance Group took the time to coach the young PBT dancers explaining the meaning behind the aesthetics. Former PBT artistic directors Julie Borromeo and Gener Caringal, renowned choreographer Paul Ocampo, and former dance stars Maritoni Rufino, Lucas Jacinto and Liza dela Fuente have likewise shared their knowledge to this fleet of dancers. The dancers seem to display a thirst for knowledge and have reciprocated the kind gesture with great energy  in their rehearsals. Weekly this ballet has been viewed by industry experts  and  the rave reviews have started to pour in even if the company has not yet reached production week. 

With all the players  giving their all and the encouraging words of many, this ballet shows promise. I believe that it seeks to show the world that there is power  in the ability to create and collaborate. All it needs is a little bit more fairy dust  to fly.  A few more days before we find out if this ballet will be as good as it seems. 

PBT’s Ibalon will run on July 28, 2023, 8pm and July 29, 2023, 8pm at the Samsung Performing Arts Theater. Tickets are P2500 (Orchestra Center), P2,000 (Orchestra Sides), P1,500 (Loge), P500 (Balcony I), and P350 (Balcony II).

For ticket inquiries and reservations, contact 86711697, 0968-8708887, or message their social media platforms on Instagram or Facebook.

Where are we now ? Dance in the Philippines thriving not surviving.

 

Sharing an interview that I did last May 15, 2022 for Open for Business. Indeed the Philippines is Open for Business. The dancers are ready to share their art . Years from now, I will watch this interview with a different set of eyes. Hopefully, I would be able to say the words  " Never again will we be punctured . The curtains will always rise" 

WATCH: Open For Business | Sunday | May 15, 2022 | 9:00PMhttps://www.youtube.com/watch?v=V4RGVlIXIxA

Review: Ballet Manila’s ‘Don Quixote’ is an electrifying win

Republished article ... Original release can be seen in this link http://theaterfansmanila.com/review-ballet-manilas-don-quixote-is-an-electrifying-win/

Amidst the threat of horrible rain, Ballet Manila (BM) gathered the city’s balletomanes to show them their feel-good Don Quixote last May 27, 2023. Ballet Manila’s Don Quixote delivered an electrifying win to a thrilled audience. 

To dream the impossible dream

Don Quixote’s story has always revolved around the beautiful transformational quality of dreams. Much like this central theme, it has allowed Ballet Manila to once again dream the impossible dream and wake up to a beautiful reality. The company has always staged full-length ballets with a massive fleet of dancers. With half the number of performers, BM dared to dream and staged Don Quixote with resourcefulness and creativity. Just like any dreamer, they won big applause and admiration. 

Dancing to the sprightly music of Ludwig Minkus, the love story of Kitri and Basilio was told. The curtains opened, revealing a statuesque man infatuated with his books of love and chivalry. With his reality blurred by dreams, he voyages as a knight-errant looking for his love, Dulcinea. In his pursuit, he meets the characters whose lives he would change. The innkeeper’s daughter Kitri and the town barber Basilio are in love and Kitri’s father would not have it. The ballet then unfolds its comical side when Gamache, a rich gentleman, sets his eyes on Kitri to the delight of Kitri’s father. Their fight to stay together fills in three acts with thrilling technical proficiency and high dramatics. In the end, Don Quixote is instrumental in carving out a happy ending. 

Performing from a place of comfort

It seemed like Jasmine Pia Dames who played Kitri and guest artist Esteban Hernandez who played Basilio both performed from a place of comfort. Both filled the stage with boundless energy, matching the temperament of Minkus' vibrant music. More importantly, they displayed a marathon of dramatics with a clear commitment to storytelling. Together, they were charming. 

Hernandez being a Latino, showed an organic Spanish flair. He appeared comfortably playful and mischievous. Hernandez is a principal dancer of the San Francisco ballet.  As a seasoned professional, he displayed quality technique with clean pirouettes, ala seconde turns, and tours. However, it was a bit disappointing not to see one or two unconventional tricks in the first acts. He made up for it in the third act with five pirouettes (turns), strong elongated coupe' jete en tournant (traveling split jumps), and spagat (turning split jump). He also partnered Dames flawlessly, nailing all the difficult lifts, like the mandatory held ala seconde overhead lift. This is his first time performing this full-length ballet and the audience validated his performance with generous applause and bravos. 

For Dames, performing in her home court was not her only advantage. This is her second time essaying the role of Kitri. When she debuted in the role, everybody was charmed by her youthfulness. This time around, she was all woman. There was a sophistication and a calculated restraint to her portrayal. Physical comedy was  replaced by more meaningful nuances and interactions with her partner. This mature approach to the role made her more endearing. As for her technical abilities, there was a visible confidence in the execution which made the audience feel at ease while she was performing the most difficult of steps. Dancing side by side with an international star, Dames remained at the forefront dancing as a real star. Not a moment was she an afterthought, which says a lot about what she has accomplished for herself.  

Real-life couple Mark Sumaylo and Abigail Oliveiro were unmissable as Espada and Mercedes. Armed with their fearless backbends and unmistakable stage presence, they defined the word suave. They took a backseat as the support soloists but did not waste their time on stage as they savored each step with all eyes on them. They too were basking in the comfort of each other. 

Supporting roles by Arnulfo Andrade as Don Quixote, Jessa Balote, and Pearl Dames as friends, Gerardo Francisco as Gamache, Elmo Dictado as Sancho Panza, and Rissa Camaclang and Romeo Peralta as gypsies were performed with clarity of character all throughout. 

Missing the old 

While the leads were ahead of their game, there were some distracting elements here and there. Act two opened up with a breathtaking sight of blue. Brilliantly lit by lighting designer Monino Duque, the dancers looked ethereal in their blue tutus with cascading sparkling gems. It was a sight that would elicit a gasp in awe of the aesthetic. However, as the dancers danced, the magic dissipated. The physique of some of the dancers was distracting and their ensemble work was not at par with Ballet Manila’s trademark of exquisite corps work. Ultimately, they looked like a bored backdrop forced to pose. Some had big smiles, some had small smiles, some had pensive looks and some were blank-faced. It is important to remember that the ensemble needs to have a collective soul that breathes life into a ballet. Every role is important. 

The beautiful Eva Chatal was a polished technician. However, against a backdrop of blue, she did not possess the lightness of a dream. Admirable though are her beautifully extended lines. 

Jessa Balote as Cupid was crisp and cute. Her jetes were picture perfect with commendable precision and energy. 

A dream come true 

Ballet Manila has brought life back to this well-loved story ballet. And just like that, they showed our local audiences that you can fight for your dream and succeed. No lavish sets and no battalion of dancers on stage, but they have a whole lot of dreamers on stage making up for whatever is absent. Bravo Ballet Manila for making the impossible possible. 

Tickets: Php 1,200.00 - Php 2,000.00

Show Dates: May 27 - May 28

Venue: Aliw Theatre 

Running Time: approx. 2 hour and 30 minutes (two intermissions)

Credits: Ludwig Minkus  (Music), Marius Petipa (Choreography), Lisa Macuja Elizalde (Artistic Director), Monino Duque (Lighting Designer), 

Cast: (Principals and Soloists) Esteban Hernandez, Pia Dames, Pearl Dames, Jessa Balote, Eva Chatal, Mark Sumaylo, Abigail Oliveiro-Sumaylo, Gerardo Francisco, Alvin Dictado, Arnulfo Andrade, Rissa Camaclang, Romeo Peralta

REVIEW: Third time’s a charm with ‘Encantada’

 

Republished article ... Original release can be seen in this link THEATERFANSMANILA

Alice Reyes Dance Philippines opened its season with National Artist Agnes Locsin’s  neo-ethnic ballet “Encantada”.  Starting strong, their first run at the Samsung theater elicited long-running curtain calls, standing ovations, and heartfelt declarations of acceptance. But nobody was prepared for the display of love on opening night at the Metropolitan Theater last April 21, 2023.  The phrase “and the crowd went wild” is usually reserved for sports arenas but  this old ballet from the 1990s  made it happen in the iconic theater. 

Encantada was the brainchild of three radical artists. Al Santos wrote the libretto, Joey Ayala the music and finally, it was directed and choreographed by Agnes Locsin. At the time of its premiere everything that they did was unorthodox. The theme was about taboos, the dance genre was contemporary and the music was tribal ( which was not your go-to music for ballets). The product was fresh and the audience embraced it.  In 2011, it was restaged by Ballet Philippines and it won numerous awards. But a lot has happened since then. The production value of shows has been inventive, contemporary dance is now at the forefront and the music industry has opened up. I wondered if the ballet could remain as potent as it was when it was created. Opening Night proved that this ballet was indeed a timeless classic. 

Purposeful Libretto

The curtains opened revealing Salvador Bernal’s majestic multilevel mountain glistening under the light of John Batalla. The moment of stillness would prepare the audience for a powerhouse performance of music, dance, and theatrics. With her feet grounded and connected to Bernal's mountain, Encantada played by Georgette Sanchez- Vargas descended from the top of the mountains and roused up the kababaihan. It was a soothing warm-up for the telling of a story laced with multiple social critiques on religious hypocrisy, the power divide in society, the violence against women, the oppressed, and the environment. 

The story has two different sectors that live by faith. The pagans of the mountains were the Kababihans who relied on their mystical Encantada and the devout Christians who lived in civilization. Through the narrative of the Estranghero who was a devout Christian, the abuse of  people and environment by the powerful Frailes would be told. In each major scene, Locsin was able to share a strong message.  For instance, in the story, the conflict intensified when the Christian icon of the Virgin Mary was turned over to the pagans who undressed it and worshiped them as their god.   This depicts that both sectors believed in the same higher power packaged differently. In the end, it is how you live your life in faith that is the true battle. 

In the story, the estranghero was saved by the Kababaihans from pain inflicted by his own sector. While he remained a devout  Christian he recognized the kindness of pagans and even lived with them in their sanctuary. The message is loud and clear different religions can coexist. 

The role of the estranghero was also quite powerful as it showed that the true devout could easily be persecuted by the powerful. The estranghero was pursued by the Frailes and the Guardia Sibil to his death. Consistent with our history as a nation, many of our heroes who have stood up for what they believed was right suffered. They were always the catalyst of change, the heroes that would be remembered.  

In the climactic battle between the Guardia Sibil and the Kababaihans,  they destroyed the environment and the spirit of the people. This is a direct call out not to bite the hand that feeds you.   There are many more poetic declarations in the scenes that the audience could pick up. Collectively the nuances have made the ballet a powerful social commentary. 

Locsin Choreography 

The pulsating music of Joey Ayala and Bagong Lumad evoked a vibe. It was ingenious to have the musicians hidden in the mountain. It seemed to breathe life into the mountain. In too many ballets, the singers take away the attention from the dancers but in this performance, the voices reverberated from the stage in the most glorious way. I am certain the dancers being so close to the live music could feed off the energy of the singers. Locsin’s rhythmic steps like stomping furiously to the beat of the music intensified the scenes bringing on  the 

Playing off the elemental sound Locsin’s choreography was a delicate display of nature. Memorable is the scene where the kababaihan heals the estranghero through the help of the Babaylan and the Encantada. Encantada lifts her arms to the sky and in a dramatic gesture pours healing into the hands of the Babaylan which the Babaylan then transfers to the Kababaihan. In this scene, the women act as a conveyor belt moving the body of the estranghero forward with their bodies. It looked like a  magical stream of water being poured out from the sky to his ailing body.

Similarly, in the scene of the great flood, bodies were rolling on the floor like objects swiftly being carried away by the current. There were scenes where the element of wind was the core aesthetic. The ensemble would run furiously in a circle creating the image of a human hurricane with their hair swept away from their faces,  the central energy mounting on stage. In the grand finale, the kababaihan toss their hair up and down like being one with the wind. Swaying hips, bendy torsos and a tempo that mimics gusts of wind created beautiful images.  

The beauty of Locsin’s choreography lies in how the movements themselves easily build up the characters of the story. For instance, Encatada could have been portrayed as the stereotype of mother earth,  colorful and vivacious. Instead,   Locsin’s Ecantada had the soul of a mother with hands that lifted in prayer, hands that could heal, hands that could nurture, and hands that could share joy. Her hand articulations were enough to convey emotions.  Her grounded movements established that she was part of the earth. Her feet were deeply grounded with most of the steps on fondu (on leg bent) but her upper body movements were weightless somewhat explaining that she is divinely connected to the heavens but rooted in service to the mountain and its people.  The Kababaihan ensemble had a lot of linked arms and intertwined bodies which emphasized their sense of community and harmony as opposed to the jagged and non-unified choreography of the violent angular movements of the Guardia Sibil.  

It could easily be my imagination but having seen this ballet multiple times, I started to notice picturesque scenes with a likeness to historical events. For instance, in the scene where the Estrangero was beaten up,  the two guards held both his arms and lifted him off the ground. His feet were intertwined and it looked like  Jesus on the cross. His role was a devout being persecuted and so it made sense. Alternatively, It could also be like  Rizal’s death scene where he falls on the floor because he dared revolt. In the scene where the Guardia Sibil were raping the women, they go to a circular formation and scream out their pain. It looked like there was a reference to Dantes's Inferno, where the mangled bodies scream in the sinner's haven. 

There were also so many references to Filipino heritage embedded in every major scene like the  Marinduque’s Moriones Festival, Manobo healing rituals, and ati atihan. It showcased  Filipino culture albeit reinvented in an alternate imaginary Locsin universe. 

Passionate Dancers

While I believe the material is the real reason behind the show’s success, the performers really brought their a-game. Neo-ethnic style is something hard to acclimatize with but the dancers seemed intent on giving justice to the choreography. Their passionate acting brought the story to a different level. Considering the technical demands of the ballet the cast’s endurance was amazing.

Georgette Sanchez-Vargas as the Encantada owned the stage displaying artistic maturity. Being a Locsin-trained dancer she was able to articulate Locsin’s vocabulary with ease. She traversed through the mountain levels with confidence. Despite being so high up in the mountain, her emotional scenes were strong enough to puncture the audience and elicit tears.  Carissa Adea who performed the role of Babylan showed a different temperament than the pioneer cast but was equally effective. She emphasized empathy and community in her storytelling. Ronelson Yadao who played the estranghero and Lester  Lester Reguindin who played the Fraile were dynamic in both their acting and their dancing contributing greatly to the drama. 

Third Time’s a Charm

This third staging of Encantada was successful for a reason. It gave full attention and respect to the material, the creators’ intention, and most importantly the artists.

Restagers Alden Lugnasin, Annette Cruz-Mariano, and Judelle de Guzman-Sicam drew from their experiences. The nuances that could easily be forgotten and imagery that could easily be non-recognizable were clear as day in this staging.

With Agnes Locsin herself at the helm of this production, she was able to school audiences that theater is not about glorifying one person’s art, it is about making sure everyone’s art comes alive. It takes a village to show something worthwhile. When the National Artist for Dance was asked how she felt about the outcome she said that everything fell into place and that she was happy about this staging. Indeed there is much to be happy about.

This now iconic ballet and the Alice Reyes Dance Philippines Company have just re-established the gold standard for creating a Filipino ballet.

Tickets: Php Free ( Registration Required)
Show Dates: April 21 - April 22, 2023
Venue: Metropolitan Theater 
Running Time: approx. 1 hour and 45 mins
Credits: Agnes Locsin  (Director), Agnes Locsin (Choreographer), Ronelson Yadao (ARDP Artistic Director), Joey Ayala (Composer), Al Santos (Librettist ), John Battala (lighting designer), Salvador Bernal  (Set Design, Costume Design), Salvador Bernal  Reproduction Consultant (Eric Cruz) Set Construction Supervisor  (Erlinda Arcega) Restagers (Alden Lugnasin, Annette Cruz- Mariano , Judelle De Guzman-Sicam)
Featured Cast:  Encantada ( Georgette Sanchez-Vargas), Babaylan (Carissa Adea), Estranghero (Ronelson Yadao), Fraile (Lester Reguindin), Joey Ayala, Bagong Lumad
Company: Alice Reyes Dance Company 

CCP Art will Find its Way to Your Heart

 CCP President Margie Moran-Floirendo at the Main Theater. (Photo by Kiko Cabuena)

In 2017, the management of the Cultural Center of the Philippines presented to the public their blueprint of what they envisioned CCP to be.  It was an expansion plan for the complex that would include new venues to present art. It included a new black box theater, additional rehearsal halls, new commercial areas, and exhibition spaces.  The main objective as explained by the then Artistic Director and Vice President Cris Millado was to open up the space to new audiences. the change was to make CCP once again a household name instead of a tourist spot for even the local residents.  In the recent press, According to President of the CCP Margie Moran Floirendo from 2018 to 2019  they conducted a building audit to check what needed to be done to ensure that the CCP was rehabilitated prior to expansion. While the CCP leadership seemed ready to take on the challenge of renovation and expansion, things did not exactly go their way. The first wave of challenges came when the budget approved during the  Pres Noynoy Aquino administration was way below what was proposed. Nonetheless, this amount was enough to at the very least repair everything that needed to be fixed and upgrade the Main Theater.  The money was finally released sometime during President Rodrigo Duterte's administration.  The second wave of problems hit when the covid pandemic caused a total national lockdown. The pandemic not only made it impossible to have full-scale construction, it also created a ripple effect on the price of construction and materials. Since the COVID safety regulations have been relaxed significantly,  CCP  has gone forward unfazed by the surreal experience of sustaining the CCP as a premiere cultural institution of the country.  All offices have now been relocated. The CCP has officially been closed to the public and is expected to resume operations in 2026.  Despite the daunting obstacles, the board of directors remains enthusiastic. Armed with an initial budget of Php 900 million  Floirendo says confidently " The CCP Main building may be closed but we promise that we will not falter in our mandate to promote artistic excellence, nurture artists and engage audiences through cultural experiences. We are committed to remaining the leading art institution in the country. And when all of this is done we will remain the premier art institution not only in our country but in Asia". 

CCP Chairman Jaime C. Laya speaks to guests prior to the tour of CCP. (Photo by Erica Jacinto)

                       Ms. Tess Rances, CCP Administrative Services Department manager leads the press tour of the CCP (Photo by Erica Jacinto)

Current State of the Little Theater

Current State of Silangan Hall

Current State of the exhibit area with the contents of the Library

Current Status of the Main Theatre Lobby

Looking Forward

It seems the battle cry of the entire CCP organization is " Expect the Unexpected and respond creatively".  Looking at everything as challenges instead of problems, they will attempt to make the CCP a green institution. The goal is for it to be environmentally friendly and environmentally resilient. Its facilities will aim to be gender-responsive, and considerate to persons with disabilities and senior citizens. While the people wait for this future-ready- complex, the CCP intends to maximize their itsstrong cultural network.  Artistic Director and Vice President Dennis Marasigan reported that the dictum is to broaden its itsreach through partnerships with different venues in Manila and the regional area. Among those mentioned were the Metropolitan Museum, the Samsung Theatre, and the Newport theater. Its exhibitions will inhabit partner museums all over the country. The recent Pasinaya shows that indeed this is possible. In the recent cultural event, CCP  partnered with 30 museums and held 72 performances in various venues. This of course includes the only available CCP Venue the Tanghalang Ignacio Gimenez (Blackbox theater) and outdoor performances at the lawn area. 

CCP Vice President and Artistic Director Dennis Marasigan presents the artistic highlights for 2023

Cultural Revolution

During these trying times the resolution remains the same, making the CCP a household name. As former CCP Artistic Director Cris Millado once said " Art matters to every Filipino" or at least it should. Dennis Marasigan presented a fascinating range of activities breaking the norms of cultural exclusivity. One of the major projects of the CCP is Kanto Kultura which opens up opportunities to reach out to unknown Filipino artists and art forms. It is an attempt to close the gap between social classes with art as the equalizer. Out of the box and into people's minds.  At the same time, Marasigan reaffirms that the main programs of the CCP like the Cinemalaya, Virgin Labfest, Pasinaya, and  Performatura will remain on the agenda.  CCP will work closely with the resident companies Ballet Philippines, Philippine Ballet Theatre, the Ramon Obusan Folkloric Group and the Bayanihan Philippine National Folk Dance Company, Tanghalang Pilipino, Philippine Philharmonic Orchestra, the Philippine Madrigal Singers and the National Music Competitions for Young Artists Foundation (NAMCYA) so that they can present their seasons with dignity. The CCP  without its facilities now has an opportunity to rebrand. It is not just a building( or a complex) the CCP is a cultural movement. They will leave no stone unturned until everyone gets excited by art. CCP is homeless but hopefully not displaced in the hearts of the Filipino people. Margie Moran-Floirendo encourages everyone to continue supporting the CCP so that we can look forward to a greater CCP.

The energetic CCP Board of Directors