Candice Adea's Second Wind

Candice Adea in Raymonda by Ballet Philippines 

Candice Adea is a household name in ballet. After having surpassed the achievement of many dancers before her with a lustrous career peppered with awards, recognition and international experience, she now belongs to the ballet elite in the Philippines. After a short hiatus from the international scene, she accepted a First soloist contract from West Australian Ballet back in June 2018. She is currently ranked third in the female dancers as the only First soloist in the company. She is the first Filipina to ever join this sixty six year old multi-nationality state ballet company. She jumped into the Company's season mid way through preparations for Dracula and immediately she was made to understudy the lead role for future restagings of the production. Nutcracker is her first taste of being part of the creative process of West Australian Ballet. All things seem to be looking good as she was casted in so many roles. Adea bravely took on multiple roles including the titular role of Clara and Sugar Plum Fairy , Snow Queen and Chinese Ballerina in the Land of the Sweets. This casting decision signals a positive start with the Company. Filipinos who were able to witness her performance as Sugar Plum have described her as a dancer "at her peak" showing a special kind of sparkle in her eyes dancing with her new  family. Her comeback in the international scene seems solid and her outlook about the future is refreshingly positive. She is heavily missed by her following in Manila but her success in Australia is surely inspiring a lot of ballerina dreamers witnessing her story unfold. May people recognize her giant leap and see her glorious second wind bring her forward.

Here's a closer look at her Nutcracker experience. All photos courtesy of Candice Adea.

                     

                 

  

 

 Her West Australian Ballet reads  Click Link West Australian Ballet Dancer Candice Adea

Candice Adea was the first Filipina to win at the Helsinki International Ballet Competition taking 1st Place, Senior Women’s Division in 2012 and won a Silver Medal at the USA International Ballet Competition in the Senior Women’s Division in 2010.

Adding more achievements to her name, she was awarded by Gawad Buhay as Outstanding Female Lead Performer twice for her work in Amada (2009) and September Gala (2010), as well as two special awards at the Boston International Ballet Competition in 2011—the Maris Liepa Award for Outstanding Artistry and Lead Role in a Russian Ballet performance.

Candice was trained in the Philippines at the CCP Dance School, the Philippine High School for the Arts, and earned her Bachelor of Arts Degree Major in Dance, from De La Salle—College of Saint Benilde.

Candice has previously been Principal Dancer and Resident Guest Artist for Ballet Philippines, Soloist for Hong Kong Ballet and joined West Australian Ballet in July 2018.

Changing of the Tides

First quarter of the year has ended and so has ballet season for our major companies. In what seems like a strange plot twist Ballet Philippines and Ballet Manila ended their seasons with bold  uncharacteristic choices. Ballet Philippines  who is known for being the edgier choice, chose a classical ballet Don Quixote. Incidentally Don Quixote  was Ballet  Manila's year ender in 2017. Ballet Manila  packaged as a lover of tradition chose to do Ballet Ballads with their main event being  the premiere of new contemporary pieces. It seems for two weekends there was a freaky Friday switch of some sort as BM fiercely represented modern ballet and BP did the same for classical ballet. The cross over was quite interesting. 

Don Quixote 

Ballet Philippines' "Don Quixote" had quite a number of things to offer. Principal dancers taking on the soloist roles, an orchestra, a guest artist, even a tapas diner. With the long history that Ballet Philippines has with the ballet, I'm happy that at the end of the day it was not the frills but the actual dancing that won me over. 

International guests Joseph Gatti and Filipina Candice Adea did not disappoint. Their chemistry was palpable and their humor relatable. Both seemed to be having the time of their life despite the physical demands of the ballet.They never really let each other go constantly connecting with each other with a glance, a choreographed touch and even a couple of smirks. Their friendship showed in the the seamless partnering through the acts. 



Gatti swept the audience off their feet with his dynamic way of dancing. He represents what ballet could be for this generation. There was a time whene artistry was the priority and the awkward now  period where ballet is  equated to numbers and tricks. Gatti strikes the balance with athleticism and likable allure. He doesn't capitalize on  "more is more". His presence is cool and not overbearing. His tricks are intelligently created in the sense that he doesn't merely add another turn or another jump in a series. He adds a twist to his steps that emphasize strength and technique. For instance, while he does five pirouettes consistently, he often whips a six and ends it with a lengthy balance on arabesque. The usual consecutive tours are replaced with tours peppered with one leg jumps leaving people gasping. He reminds me of a young Angel Corella, a breath of fresh air. He is boyish but delivers manly and virtuoso dancing all with a relaxed breath. 



What was uplifting about this show was how the Filipino dancers took the spotlight. Celebrated Candice Adea kept the audience entertained with her quirky ways. Ronelson Yadao was smooth as Espada. He brought his own light with him wherever he went making sure that his character was never forgotten. Denise Parungao played Mercedes and Dryad Queen and her lyricism was mesmerizing. It was nice to see our own dancers not overshadowed by an awesome guest artist. 

Denise Parungao as Mercedes

Ronelson Yadao as Espada 

The ensemble honestly could have been better. Having seen the show several times, I could literally see the younger ones relaxing instead of engaging. It was a bit sad to see Gatti gawking. Every role is important and   contributory to a story. (A little of this can be seen in the photos below). I also felt that on opening night, Manila Symphony Orchestra robbed us of a few seconds of Gatti magic. Their timing particularly for Gatti portions were off and even as Gatti signaled (by walking ever so slowly and NOT DANCING) that they messed up they didn't bother to do it over. Some of his tricks were cut short. I did hear they did amazing on the second show the next day. 

Don Quixote was energetic, colorful and a display of very good dancing. Bravo. 

Cast:

Kitri :Candice Adea

Basilio: Joseph Gatti

Mercedes and Dryad: Denise Parungao

Espada : Ronelson Yadao

Cupid: Jemima Reyes 

Ballet and Ballads 

Ballet Manila closed their 22nd season with their longest running concert series "Ballet and Ballads". With a mixed bill their theme was about love perfectly in tune with the month of hearts.  I didn't find the need to string all the pieces together as their main point was to celebrate ballet and ballads and their collective universality. While I appreciated the beautiful words individually,  it was quite difficult to swallow the connection of the pieces. It's difficult to correlate Black Swan a piece about love and deception with El Adwa  which is about war and combat. Also with ballads meaning "danceable music" portions of just the orchestra playing against John Batalla's admittedly gorgeous lights were off. While it fully showcased the skill of the ABS CBN Philharmonic Orchestra it went against the grain of the theme. 

Ballet and Ballads did however give birth to a couple of heavy weight pieces that I reckon will stay with the Company for a very long time. Bam Damian created El Adwa, a powerhouse piece filled with exciting lifts performed by lead couple  Joan Sia and Romeo Peralta.  Performed with strength, the spiraling from one aesthetic shape to another was breathtaking. It is unfortunate I was not able to immortalize in photo the ensemble because with their best men, Ballet Manila claimed mastery of Damian's neo-classic style. Damian has always worked magic with tour de force pieces with men, he does it again with El Adwa. Their movements were definitive and filled with testosterone and really did a good job in mimicking the robust energy of soldiers. Filled with a string of  various jetes (elongated jumps) and barrel turns it was quite a test of  stamina.Truly, the choreography was a good fit with the dancers. Showcasing their very best abilities, it was such a triumph. 

Aria created by Martin Lawrence was a piece about the different stages or forms of love.As Martin Lawrence explains " Aria is my response to these beautiful arias that have been written by Verdi, Puccini and Bizet. It takes you on a journey of heartbreak and requited love". That it did. The piece was quite memorable because of its relatability. The dances were situated in communal spaces, the living room, the kitchen table, the family room. It took us to a journey about the not so nice part about married life. The nuances were on point. The story telling about  awkward silences, combative voices, wanting to be heard were all skillfully elaborated. Three pairs  told three different stories but they all ended up in one couch, on the same page of struggle. Particularly touching was the partnership of Mark Sumaylo and Abigail Oliveiro which had a high level of connectivity given the seduction aspect that was highlighted. In their pas de deux there was a lot of variations of the "embrace" alternating between loving and suffocating. In my eyes it was more a depiction of an impulsive kind of love that has not quite reached maturity. Their dancing in contrast was strong and magnetic. My only comment was that the ballet may be seen differently depending on where you are seated. It is best seen in Orchestra Center. 

As the title implies classical ballet was still represented. Originally  created for Lisa Macuja-Elizalde and Rudy De Dios " Ilsa Dyur" (trivia: it is their names in reverse) is highly technical.Though this one is a restaging, I would say the piece was reborn.  Not many can perform the piece so it's an achievement for a couple to make it look their own.  It's vocabulary is classical ballet but it is branded by Damian's luxurious aesthetic. The usual supported pencees were made extra beautiful with rounded contrasting arms. Traditional overhead lifts were seen in different perspectives. Jasmine Pia Dames and Rudolph Capongcol succeeded and  looked quite comfortable and at ease performing such a difficult ballet. Dames conquered the quick footwork which consisted of hopping echappes, pirouettes, small jumps paired with corner pique turns with legs extending to the front and to the back all in packed in a minute. It was a exquisite  play on Tchaikovsky's music. Capongcol likewise delivered with controlled arabesques and crisp cabrioles. The grand pas de deux was light and highly entertaining. 

Despite the lack of fluidity in concept, it cannot be denied that Ballet Manila showcased their capacity to adapt to modern times. Their ability to perform more contemporary pieces gives their name a lift. In the past years they have started to redefine themselves as a heavy hitter in modern ballet. While they stuck to one branch of modern ballet, with  constant encounters with Martin Lawrence, Annabel Ochoa and Bam Damian they have gotten a whole lot stronger. Any company would want a good balance between the new and the old. 

Black Swan Pas de Deux by Heewon Cho and Elpidio Magat

Pinoy Ako Choreographed by Jonathan Janolo 

Kapit choreographed by Lisa Macuja 

Changing of the Tides

Now that the ballet seasons have ended, I'm left thinking about what to look forward to for 2018. Rumors have been silenced about sharing a weekend of  Carmina Burana for Ballet Philippines and Ballet Manila and a follow up performance of the same ballet for Philippine Ballet Theatre. I'm glad because the consistent repetition is tiresome. Perhaps it is not intentional but it's also not great programming. In basic marketing, competitor analysis is key.   There's a million ballets out there. Should the intention be about changing of the tides or reinvention of all the companies then may it be through newly created pieces in both contemporary and classical ballet formats. May coping with the "new"result in a showcase of Philippine  premieres. Perhaps a staging of Balanchine, Alice and Wonderland, Manon or a new full Filipino epic perhaps? I am the worst example of an affected audience just because I see something beautiful in every show but I feel not everyone will be like me. I'd like to encourage everyone to experience something distinctly magical at the theatre. Here's to hoping for  a showcase of diversity this 2018. 

Back to Back Ballets this Holiday Season

It dawned on me that every company just like a snowflake is gloriously unique even if they fall to the ground at the same time and in the same way. I would think this will hold true for the back to back ballets following Philippine Ballet Theatre's recently concluded Nutcracker. There's more than enough reason to see both Ballet Philippines' and Ballet Manila's year-enders.

Up first is Ballet Manila's world premiere of Snow White crafted by Lisa Macuja Elizalde. This is her second attempt to independently create a full ballet. Packaged as a children's ballet it promises a colorful display of mystic magic. A fairy tale with a happy ending should be fun for the young and old. The  ballet's music arranged by Von De Guzman is a medley of different musical inspirations including nursery rhymes. This is meant to captivate audiences as young as two years old. Casted as Snow White are Katherine Barkman, Hee Won Cho and Joan Sia. The three beauties are so different from each other with fine qualities to be excited about. I wonder which one will be the fairest of them all? Paired  with them are  Joseph Phillips, Romeo Peralta and Elpidio Magat whose princely nature will likely awaken not just Snow White but the audience as well. Snow White's premiere is on November 25, 2017 and closes on December 3, 2017 at the Aliw Theatre.

PHOTO COURTESY OF BALLET MANILA 

Coinciding with Ballet Manila's second weekend is the Filipinized version of Nutcracker offered by Ballet Philippines. BP has had a very long history with Nutcracker and both Alice Reyes and Edna Vida have presented their own versions in 1982 and 1987 respectively. The show will  feature the collaboration of National Artist Alice Reyes and Edna Vida which should be interesting. Using the original design of the late National Artist Salvador Bernal, Ballet Philippines will transport us to Christmas in the 1920's setting. The Company has invited Nobuo Fujino (formerly a Senior Artist at the Australian Ballet and Principal with Hong Kong Ballet) to dance the role of the Nutcracker Prince. He will be partnering Denise Parungao who plays the role of Sugarplum Fairy. Alternating with Parungao is resident guest artist Candice Adea and company member Jemima Reyes. They will be partnered by Lester Reguindin and Victor Maguad respectively.

PHOTO BY JOJO MAMANGUN COURTESY OF BALLET PHILIPPINES

   

Nobuo Fujino
PHOTO COURTESY OF BALLET PHILIPPINES

I fully expect the next couple of weeks to be filled with holiday cheer with fairy tales and happy endings coming our way. Encouraging everyone to join me in indulging in something joyful for a change. Take that trip to the theatre! See you there!

REVIEW: Ballet Philippines’ “Exemplars” is a requiem (Archive)

                   Click here to see Theaterfans Link where it was originally published

Exemplars was a step back in memory lane. Ballet Philippines revived five pieces from their seventies repertoire to signify the beginning of a requiem leading to their golden anniversary in 2019.

Nostalgic merits aside, I recognize the need for this kind of mixed bill performance. It’s hitting two birds with one stone when you combine discovery with commemoration. Ballet Philippines’ audiences were educated about the Company’s beginnings, particularly the pieces that inspired more years of creative innovation. The Company, on the other hand, was given a chance to step into the shoes of their predecessors. I reckon that it was an enriching experience to perform the pieces that ensured their future. The intention is truthfully quite beautiful, it connects different generations in celebration of dance.

Exemplary

AMADA, choreographed by National Artist for Dance Alice Reyes , is one of the monumental pieces that catapulted Ballet Philippines to a professional level. It should be preserved for good reason. Amada is inspired by National Artist for Literature, Nick Joaquin’s short story, ”Summer Solstice”. Its music was created by National Artist for Music Lucrecia Kasilag. But its significance goes beyond the artistic collaboration of these art masters.

Amada is a transnational art piece that helps solidify cultural roots of the Filipino people. The story is about the evolution of a couple dynamic. Don Rafael and Dona Amada of aristocratic background live within the confines of male domination. The woman obeys, the woman is silenced, the woman is merely respected and provided necessities and pleasantries. Amada, however, encounters the paganistic ritual of the Tadtarin which is a fertility ritual that blesses the woman a conqueror’s spirit.

The Tadtarin ritual coincides with the celebration of St John’s Day, a Catholic celebration. Amada, unable to resist the urge to indulge in the Tadtarin, satisfies her thirst and joins in the festivities. Satisfying her curiosity led to her ultimate transformation and she finds a sense of empowered femininity. She returns home with a fired up sensuality  that tames Don Rafael and forces her to succumb to her reformed womanhood.

In essence, the story re-inscribes in visual format the variety of influences here in the Philippines. The conflict between Paganism and Christianity, contribution of social classes to the Filipino mindset, gender roles, and impact of colonization are all magnificently put together in rich portrait of the Filipino people.  With that in mind, it is almost imperative that it be performed with much respect to its significance.

Empowered Amada

Untouched, Amada’s choreography is filled with beautiful references to tradition. Its movements are both vibrant and sullen, unconfined and military. This piece is the highlight of exemplars.

Perhaps armed with the pressure to deliver, the dancers emerged powerful. Dance portrayals by guest artists Candice Adea and Ronelson Yadao were not mere stage performances, there was an outpouring of emotion. Adea’s Amada was perfection personified with the focus of every step being the articulation of a woman in bloom. Her beautiful transition from repressed to unguarded was evident in both her movement and in her eyes. She sustained several balanced extensions. She exhibited extraordinary freedom in her steps especially in partnering sequences where she would comfortably leap to Yadao while maintaining lines and bravura.

Yadao, in contrast, was the necessary alpha-male. Memorable to me was the scene where his role is tamed by the woman. The willingness to be tamed was touching.

Central to the story is the Tadtarin who brings about the change. Sarah Alejandro was indeed the revelation of the evening. With much strength and power, she reintroduced herself to the ballet world with her performance. With her steely eyes and commanding presence, her influence on Amada and the audience was believable. To perform alongside senior dancers like Adea and Yadao is a challenge, but she conquered and her victory will be remembered. The anguished ensemble who constantly created a swirl of movement around the characters were commendable. Dance was brilliant education on a platter.

Unrequited

Among the performances, Songs of the Wayfarer, choreographed by Norman Walker, also stood out. In a story about unrequited love, Yadao’s ability to translate longing was moving. Visuals of constant jetes in attitude (both legs bent while jumping in the air) were impressive. Their costumes being burnt orangey red also creates beautiful blurs across the stage. The sustained poses by the ensemble painted pretty pictures with the soloists and their stories standing out. It closed with chains falling from above, covering the coveted bride  and the wayfarer. This kind of visual theatrics is magnificent.

Ang Sultan choreographed by Gener Caringal had its highs and lows. Soloists Victor Maguad and Jemima Reyes were able to execute the glorious pas de deux lifts and transitions, a Caringal trademark. Eugene Obille was also quite a technician with his exquisite extensions and leaps.

However, collectively the storytelling was compromised. It became merely a broken love story. Caringal’s iconic piece is about the cruelty of the caste society yet that did not quite translate effectively. The ensemble in the very end of this tragic story remained almost unaffected. There was no burn on stage and off stage from the tragedy. Additionally while the male ensemble were quite limber and spirited in their jumping, the female ensemble looked tired.  

Nothing is forever

Concertino is a stylized piece by Pauline Koner who was one of the pioneers of “modern dance”. It explores the story of a lady of the court and how they are behind closed doors. This piece honestly just felt dated. While I understand the significance of the genre, the style no longer resonates. It was a very lengthy display of repetitions. Glistening moment, however, was Denise Parungao’s solo, as well as a few back bending hinge exhibitions.

Valse Fantasy is the only classical ballet in the mixed bill program. Five girls and one boy feverishly performed at least a dozen grand jetes (split jump) on stage. Featuring the strong classical technique of the Company, it was a bit of fresh air.

As a whole, I would say the show was important. The dancers were definitely schooled with styles that are surely unfamiliar to them and the audiences were schooled about Ballet Philippines’ roots. I wouldn’t say though that it was a great idea to compile some of  the broodiest pieces of an era in one show. I actually left the stage with a bit of unwanted melancholy (which in a way is good).

There was very little joy in the program which can be intimidating for new audiences. Similarly, there is a feel of archaicness that may not appeal to a major part of Ballet Philippines’ audiences. It must be remembered that Ballet Philippines has been known for artistic explorations featuring the now. Exemplars was educational, but might not have lived up to the words “completely exemplary”.

October-Ballet-Fest!

 

Nothing ordinary about October. In fact, it's going to be a lively one for the dance world. Our three major ballet companies will offer three very distinct programs. I'm quite happy to see artistic diversity as it gives audiences an option to see all three companies even if they are  just days apart. It allows each company to refine their respective brand imagery. Truly all three companies have unique qualities that make them all worthy of a full house. 

Philippine Ballet Theatre offers Merry Widow as it's second offering for the season. It is a story about former lovers who are given a chance to reignite their lost love. The opportunity comes  when a party reunites a rich widow named Hana Glawari with her first love  Count Danilo  to her first heartbreak. The story is told with light humor and ostentatious dramatics.  Similar to who PBT really is, it promises to show sophisticated refinement. I reckon a sense of ownership to this flamboyant ballet.  PBT is actually  the only company in the Philippines who has performed this ballet. It was last seen in 2001 when the Company staged Julie Boromeo's grandiose  version. This time around based on Franz Lehar's Operetta, PBT's Artistic Director will present his own version. Having seen snippets of their rehearsal it gives me the impression that their new show will be  everything but simple. Interesting partnering, colorful unisons and  strong story telling, that is what I foresee. Their show opens on Sept 30 and closes on October 1. Don't miss Kim Abrogena and Veronica Atienza as Hana Glawari and guest artist Martin Buczco  as Count Danilo (Berlin Staatsopera). 

Ballet Manila sticks to what it does best. As a second installment to their season Flights of Fantasy, the Company will be staging the ultimate white ballet "Swan Lake" which opens on October 7, 2017 and closes on October 15, 2017.  The company takes on the challenge of preserving the tradition and history of the ballet  by restaging a show that is close to its original form.  Artistic Director Lisa Macuja herself devoted time and effort in mentoring her new breed of Swan Queens and it will be interesting to see if they will conquer the technical and artistic requirements of the ballet.  The role of Odette/Odile will be played by Katherine Barkman, Abigail Oliveiro and Joan Sia while Joseph Phillips, Elpidio Magat, Romeo Peralta, Rudy de Dios and Mark Sumaylo will be taking on the role of Prince Siegfried.  This dramatic story ballet glorifies the art form with its physical demands.  The promise 32 fouetttes, drilled corp de ballet and the majestic music of Pyotr Ilyich Tchaikovsky should  be enough to draw in audiences. Swan Lake simply can't be missed. It's a ballet that should be watched not once but numerous times in one's lifetime. 

October-Ballet-Fest ends with Ballet Philippines' "The Exemplars. Amada and other Dances". The most contemporary of the three companies, BP will present a  mixed bill that will show pieces from their collection of oldies but goodies. Most will be modern ballets.  Some of the works that will be presented were created as early as the seventies.  "Amada" will make a comeback with no less than international ballerina Candice Adea. This piece is particularly special because  it is  serendipitous collaboration of artists who now hold the highest honors in art.  The story was based on  National Artist for Literature Nick Joaquin's "Summer Solstice" The music used is by National Artist for Music Lucrecia Kasilag. Finally the choreography was crafted by National Artist for Dance  Alice Reyes. Indeed watching this can be called eye opening education. Also included in the  mixed bill is "Valse Fantasy" created by Muneca Alonte, "Ang Sultan" by Gener Caringal, "Songs of a Wayfarer" by Norman Walker and "Concertino" by Pauline Koners. Their mixed bill is pretty much establishing that Ballet Philippines. They open on October 20, 2017 and closes October 22, 2017. 

All three companies will have their award winning dancers taking the lead. All three companies are also making use of guest artists. This makes October-ballet-fest a tad more interesting. The best of the best are ready to be seen. Now will this healthy competition help fill up the theaters?! I surely hope so because each Company can provide  a different experience. Something new from Philippine Ballet Theater, something classic  from Ballet Manila and something revisited from Ballet Philippines. Take your pick people. See you everyone at least three times this October.

Ballerinas in Rehearsals 

Photos by Justin Bella Alonte 

Candice Adea rehearsing Amada 

Denise Parungao of Ballet Philippines 

Philippine Ballet's first  full stage rehearsal
Kim Abrogena with Martin Buczco 

 Ballet Manila Swans
Photo by Alfren Salgado