Dancer Diaspora Holiday Edition

 

The Holiday Season has always been a busy time for ballet dancers all over the globe. It is a timeless tradition for most companies to have a universal explosion of Nutcracker performances. By itself, this has brought so much joy to so many families. The past month, however, has highlighted something special, unique, and at the same time bittersweet. All over the world, Filipinos claimed the titular roles of the holiday classic. While there have been many Filipinos who have danced a gazillion Nutcrackers, this one stands out because it emphasizes the reality of the consequences of the dancer diaspora. Through the years, for one reason or another, our local artists have chosen to run after glossy dreams of being an international ballet artist. But this last decade, I believe trumps the Disney dancer migration we encountered in the early 2000s. It didn’t start from the pandemic, however it was the last straw did practically pushed the dancers out of the country because of the loss of opportunities here. The sheer number of dancers the Philippines lost was astounding.  A conservative estimate would be around ten homegrown dancers flying off to different parts of the world. While it highlights that there are many reasons for dancers here to want a life outside the Philippines, it also highlights that there is an appetite for the kind of magical dancing the Filipinos can offer. Our homegrown dancers stood tall and claimed significant roles in the Nutcracker. While I miss seeing these dancers perform here in our local theaters, it fills me with pride to see them enjoying the global limelight. They certainly are collectively giving the Philippines a good name. 

Mikaela Santos Photography By Erica Marquez Jacinto 

The top of the list has to be Mikaela Santos. This beautiful ballerina began her ballet journey with iconic ballet educator Effie Nanas. She gained attention in the competition circle finishing 2nd in the Cultural Center of the Philippines’ Ballet Competition and top 15 in the World Ballet Competition. She joined the Philippine Ballet Theatre as an apprentice briefly but went on to join Atlanta Ballet. She has been dancing as a full company member since 2018. Her last performance in the Philippines was back in 2019 in Entablado, a gala featuring all the products of Ballet Philippines Alumni in celebration of the Company’s 50th anniversary. She left an imprint with her Black Swan Variation showing off her polished technique. Consistent with multiple pirouettes, strong charisma, and beautifully elongated lines, she showed then that she was born to be a star. The audience certainly agreed.The best validation that she has arrived was Santos being featured in the Dance Magazine's 25 to watch out for this 2023. The icing on the cake for Santos was her being picked to perform on opening night in Atlanta Ballet’s Nutcracker.  She was the poster girl for this ballet, the most featured Marie and Sugarplum even though she shared the role with three other dancers. I have no doubt in my mind that she gained a stronger following because of this. Santos is soaring and I can’t wait to see how far she can go. 

Luis Cabrera Photo From Hong Kong Ballet Page Photography by Condrad Dy-Liacco

Garry Corpuz Photo from Hong Kong Ballet  Photography by Conrad Dy-Liacco

In Hong Kong, two Filipinos have been making a name for themselves. Both moved to Hong Kong way before the pandemic. Both gentlemen’s careers are deeply rooted in Ballet Philippines. Garry Corpuz joined Hong Kong Ballet in 2017 and rose the ranks until he was promoted this year to Principal Dancer of Hong Kong Ballet. The company has entrusted so many meaty roles to Corpuz  He has danced alongside big stars like Iana Salenko, Mathew Golding, and Maria Kotchekova to name a few. In this run, he performed as Snow King and Cavalier among others. Luis Cabrera joined the Company in 2015  and was promoted to Coryphee in 2019. But like Corpuz, he too has been a valued member of the Company albeit in a different way. He has been the Company’s go-to guy for anything contemporary. He has also forayed into choreography which has elevated his status in  Hong Kong significantly.  This year he takes on the role of Nutcracker Prince among others. These two men have been great examples of hard work, diligence, and commitment. Having seen them grow with the Company, they have had to overcome so many challenges to stand out in such a diverse and powerful Company. Both are at the top of their game but I’m sure there is more to look forward to. 

   

  

Joan Sia and Elpidio Magat Photography by Artistyne

               

Real-life couple Joan Sia and Elpidio Magat are enjoying the spotlight. The two were former principal dancers of Ballet Manila. Both have essayed the titular roles of Nutcracker Prince and Sugarplum Fairy many times but I think this one would be remembered as one for the books. Sia and Magat performed with their new ballet family, Florida Ballet. Scoring the lead says a lot as they are very new in the Company. To be awarded this privilege so early in the game gives me hope that they will shine as brightly in Florida as they have here in the Philippines. 

Denise Parungao Phtoography by Caroline Habib

                           

Eunice Suba By Caroline Habib

Denise Parungao, former Principal Dancer of Ballet Philippines, joined New Jersey Ballet in 2022. Almost instantly she was given a chance to perform in the Company’s most critical pieces. She has had a chance to tackle choreography by George Balanchine, Christopher Wheeldon, and Harrison Ball. With a strong season under her belt, she has caught the attention of critics and balletomanes alike. She shared the role of Sugarplum fairy with another Filipina in the Company Eunice Suba. Two Filipinas doing Principal roles just gives you a warm fuzzy feeling of pride. 

                                  

David Lopena Photography by Risa Mochizuki

New Jersey Ballet newbie Bryan  Sevilla, former Ballet Manila Soloist also snatched the role of Cavalier. After a short stint with Springfield Ballet, he joined the Company just recently. He also shared the role with another promising Filipino David Lopena. While the four Filipinos were not paired with each other, their casting says a lot about artistic diversity and representation. 

Eugene Obille Photography by Erica Marquez Jacinto 

                                

Victor Maguad Photography by Erica Marquez Jacinto 

Lastly, two sleek male dancers formerly from Ballet Philippines are making a mark in Sacramento Ballet. Eugene Obille took on the Nutcracker Prince in 2022 and recently performed the role of Snow King. Who could forget  Victor Maguad ?! He was BP's reliable Principal dancer who danced all the premium roles in the company’s repertoire. He took on the top role this season and I’m sure he was a sight to behold. 

As these Filipino dancers continue to give joy to audiences with their extraordinary talent and dedication, their success becomes a beacon of hope and pride for the Philippines. Their achievements speak loudly about the enduring spirit of the Filipinos. It tells an inspiring story of passion and resilience. Their beautiful stories will affirm to the next generations that dreams indeed come true. Their journeys will be like footprints in the sand, a path that many would want to follow.  These developments of course are bittersweet because their success means they are not accessible to our local audiences. But I am hopeful that they remember to give back one way or another to the dance community that nurtured them. You can still be nationalistic in spirit even if you are a million miles away. Dancer diaspora and worse permanent migration is sad but it will almost always give you a gift.  Santa definitely delivered this year. They will definitely inspire our local dancers. I’ll take their success as a silver lining, a banner of pride for the Filipinos. Bravo Filipino.

Bittersweet Romeo and Juliet

In the last two years, the company has been restaging ballets from  the treasure trove of Ballet Philippines repertoire. National Artist Alice Reyes' "Romeo and Juliet" is the last classical full length ballet to be restored before the company steps into their golden season. The idea of passage of rites at the end of the 49th season is quite fitting and beautifully symbolic. The dancers on the company frontline have been gifted with experience that can equip them as they step into the next chapter of the company's journey. Much like how Balanchine transfers his legacy through his trusted dancers, the company now has a fleet of people who worked directly with the choreographers (which is of utmost importance) in restaging moments in dance history. While it is not an assurance that the creations will be protected from ruin, there is a glimmer of hope that it will stand the test of time. There is also an opportunity to revisit the work and improve it as necessary.

Preservation Project 

This version of Romeo and Juliet was originally meant to be a commissioned work by a foreign guest choreographer. By some twist of fate it ended up being choreographed by national artist for dance Alice Reyes. The choreographer expressed that she was inspired by the grandiose Bolshoi Ballet version and the temperament of the San Francisco Michael Smuin's version. While the company has performed Romeo and Juliet several times, this version has only been performed thrice after premiering in 1981. In the recenty concluded performances the titular role was shared by Denise Parungao and guest artist extraordinaire Joseph Gatti, Monica Gana and Ronelson Yadao and Jemima Reyes and Victor Maguad. As declared by the choreographer most of it is in its original format with minor changes to adapt to skill level of the performers.

Test of Competence

The production proved to be quite a challenge for the dancers. Reyes had everyone dancing intricate patterns with grand sweeps, swivels and quickly executed partnering. This included all the character dancers who in their senior age also had to perform lifts, backbends grand battemonts (kick extensions). To say the least there were a lot of vibrant moments in the ballet celebrating the capabilities of the dancers. The competence of the company was highlighted when the Manila Symphony Orchestra would have evident misses on the tempo and the dancers would adapt to unreasonably slow timing or unbelievably quick pace. They thrived with a smile and a few unnecessary beads of sweat on their foreheads. Their coping mechanism was commendable beyond words.

Denise Parungao on opening night glistened with a new found maturity in her performance. She has always excelled in lyrical ballets but her depth in interpretation has visibly grown through the years. Her emotions were not reserved for the grand extended movements but the motionless moments as well. Her character was well sustained throughout the ballet. Fluid in movement and emotions, this may very well be one of her best performances ever.

In this version there is very little opportunity for Romeo to show off tantalizing tricks. Despite this, Joseph Gatti still captivated the audience with his  portrayal of Romeo. He still delivered his usual six pirouettes ending in arabesque and suave jumps which were highly impressive but he put a little bit more on the table to cement  his performance. His vulnerable moments were his best. Memorable was when he stabbed Tybalt. After the first unceremonious strike, he twisted the sword shoving it even deeper into the body in one vibrating movement in complete maniacal rage. Eyes fixed on Tybalt, his eyes turned soft as he had realized what he had just done. No tricks there just an authentic moment shared with the audience. It's true sometimes less is more.

Together Parungao and Gatti conquered the challenges provided by the orchestra. While they were robbed of a few moments of breath which the canned music provided they did not allow the speed of the tempo to take away the whirlwind effect of the balcony scene. Their transition from one lift to another were silky smooth. With every luxurious backbend or grand lift so much emotion was drawn out. They were equally mesmerizing in the bed scene. They were, throughout the ballet, fully committed to each other melting my heart both as a dancer and as an audience member.

Noteworthy were the performances of Ballet Philippines' technicians. Eugene Obile as Tybalt, Earl Arisola as Mercutio and Victor Maguad as Benvolio all delivered the required testosterone to dance side by side Joseph Gatti. They represented strong dancing from the Philippines with their expansive leaps and clean footwork. Butch Esperanza who played Count Capulet moved me to tears as he carried Juliet thinking she was dead. Every bit a veteran his face alone told the story of instant regret and inconsolable forlorn.

Missing the pointe 

The story of the ballet is well known to many but I believe that prior knowledge of the story should not be necessary when watching a ballet. All key elements should be clear as day. While the restaging was a vibrant one, I found that there were key scenes that were overlooked or underloved. In the first act the Prince of Verona gives fair warning to both the Capulets and the Montagues that lives shall pay for the forfeit of peace. However within days, the rivalry caused the death of both Mercutio and Tybalt. In the literature, the imagery repeats itself when the Prince of Verona imposes his final say about the rivalry which makes sense of the prologue that says "Two households both alike in dignity in fair Verona... where civil blood makes civil hands unclean". The Prince of Verona giving his final judgement of Romeo was not shown in the ballet which for me is of vital importance. This missed scene emphasizes that Romeo and Juliet is not simply a love story but a story about the uselessness of rivalry and the importance of moral restraint. The scene also explains why Romeo had to leave Juliet so urgently because if he did not leave he would be killed. In this version after the bodies are taken away, Romeo's goodbye quickly follows. It should be noted that the Bolshoi version which is one of the inspirations for the ballet also did not have this scene but instead had both parties come out with the both dead bodies and the two camps blaming each other through mime and tableau framing the bed scene that ends with a goodbye.

Another important scene that was missing was the unfortunate timeline of Brother John who was supposed to deliver the Priest's message to Romeo. Since this was not included, it seemed as if the priest was irresponsible and remiss in his promise to Juliet making him out to be the ultimate murderer.

In the last scene, when Romeo comes to see the supposedly dead body, Paris is nowhere to be seen or he was presumably already killed by Romeo. This diminishes the tragedy a bit because it does not quite show how desperate and ravaged Romeo is at this time.

All the deaths with the exception of Romeo and Juliet's demise were underwhelming. When Mercutio dies, no one except his lover came to his aid. When Tybalt dies, again no one commiserated. Rosaline took over Mother Capulet's lament. She didn't even touch the body instead she and the husband performed a very cold series of choreography. No tears for Tybalt. When the Capulets found Juliet's cold body, Mother Capulet still does not have the opportunity to hold her child. In all these dying scenes, choreography was prioritized over sentimental movement which left me unaffected and unmoved. It wasn't until Romeo and Juliet's  final death that I was emotionally shaken.

A ballet is of course based on the director's vision which I fully respect and acknowledge, I just think the story could have been more true to the text had it included more of the layers and less ensemble dancing. While I had issues with the story telling there is a whole lot to still be proud of. First of all, this was a Filipino made ballet that lasted decades. The mere fact that it was ornately made by National Artist Alice Reyes with sets and costumes by National Artist  Salvador Bernal instantly makes it a historical gem worthy of preservation. Second of all, the ballet as a whole had a wealth of movement. The aesthetic of this version was strong, bold and memorable. The sequences were intricate and musical. Lastly, it is a ballet that showcased that Ballet Philippines is resilient, strong and competent. This is a company ready for their golden season.

The Birth of Team Philippines

Interest in ballet competitions have amplified in the last twenty years in a global scale. The global trend, the strong influential nudge from social media and perhaps Candice Adea's sparkling win in the 2010 UIBC have inspired our Filipino dancers to become brave enough to go beyond their comfort zone and into the  artistic combat arena. Nowadays children as young as 7 years old are being prepped to compete internationally. Despite the boost, Philippine representation in international ballet competitions is still considered a small number.  I can count with my two hands the number of people who have joined the four notable career changing competitions in the world (which in my opinion are: Prix de Laussane, USA International Ballet Competition, Varna International Ballet Competition and Moscow Ballet Competition) in the last decade.  2018 is a game changer. 

Recently, Lisa Macuja and Ballet Manila spearheaded a fundraising event for all the dancers competing internationally this 2018. Presented to the audience was a legion of dancers that suddenly blurred territories and affiliations turning them all into one brave TEAM PHILIPPINES. It was quite lovely to feel the synergy of support from the audience. I would say that the event was a true mark of "bayanihan". Giving audiences the chance to support "The Filipino Artist" as one body is such a gift to the community. Not only does it paint a beautiful picture of unity, it also shows that the potential of our dancers is something to be proud of. If the performances were any indication of their showing in their respective competitions, I would say at a minimum our dancers will leave a mark for their exemplary artistry. 

At this time, the first group of Pinoy competitors have started their USA International Ballet Competition journey in Jackson, Missisipi. Often times it's called the Olympics of ballet because of the level of difficulty in the process of elimination. To survive the application round is ready an achievement.Round one of competition  is a display of classical technique. If you survive that round, you will get to perform your prepared contemporary number. After that is a third round where you will be asked to perform 1 classical number and 1 contemporary number. Competition at this level is brutal. With this in mind, TEAM PHILIPPINES is really up for combat.  In historic fashion, the three major ballet companies in the Philippines will be ably represented by their artists. Ballet Manila will be sending Nicole Barosso and Yulian Rey to compete in the Junior Category. They are the first Filipino pair to ever qualify and compete in the Juniors division.They will be 2 out of 153 contestants. 

The senior category has 65 competitors.   Ballet Manila's resident guest artist Katherine Barkman will be competing in the senior category with non-competing partner Joseph Philips. Rising star Veronica Atienza who will be representing Philippine Ballet Theatre. Denise Parungao Jr. Principal Dancer partnered by non-competing partner Garry Corpuz will be performing for Ballet Philippines.  Filipino dancers Eunice Suba from New Jersey Ballet and Derek Drillon are also contenders in the Seniors Category. The phrases "more chances of winning" and "strength in numbers" provides hope that a handful will come home victorious. Get to know  our TEAM PHILIPPINES for UIBC 

JUNIORS UIBC

Nicole Barosso and Yulian Rey have been partnered together for quite some time. Both are no strangers to competition.  Barosso placed 1st in  the CCP National Ballet Competition in the Juniors Divion in 2016. She also got 2 silver medals from Asian Grand Prix in 2015 and 2016 . Yulian Rey placed 5th in the Asian Grand Prix 2017. At the Philippine Dance Cup he was 2nd Place in the 2012 Junior Division Solo Category and 6th Place in the 2014 Senior Division Solo Category. This promising pair is slithers with elan and appropriately playful in the spotlight. 

SENIORS UIBC

Katherine Barkman is obviously not a Filipino but she's lived in Manila for three years and have quite frankly captured the hearts of many. Just like in basketball, let's call her the "import" or "kabayan". She's a polished performer who practically glistens in bravura choreography. Sure-footed, she is able to play with her artistry and enjoy her moments on stage. She won the Gold At the 2015 Asian Grand Prix. This is her second time to join UIBC.

Denise Parungao is Manila's adagio princess. Her silken elasticity is what sets her apart from others. She often excites audiences with controlled extended balances and  generous extensions. She previously won the Luda Adameit Award in the 2011 Junior NAMCYA competition and won first prize in the 2014  CCP National Ballet Competition. 

       

Veronica Atienza is an unstoppable force of nature. From ambuiguity she introduced herself to the dance industry with a glorious performqnce in the Junior  World Ballet Competition by placing 4th. She has since then consistently pleased audiences with her fusion of  glorious femininity and youthful athleticism.  Her endless lines or multiple pirouettes are always  delivered effortlessly.

Derek Drilon is not based in Manila but has performed in the Philippines a couple of times. I have not seen him live but from what I've seen he can very well be our very own Pinoy Roberto Bolle. He has a princely  aura and a natural charm. His classical lines are impressive. He won the Gold in the Youth American Grand Prix San Francisco Qualifier and placed 6th in the overall final competition. 

Sourced from Drilon's Facebook

Eunica Suba lives in New Jersey and has been competing since she was a child. She was even featured briefly in the famous tv series "Dance Moms". Her latest achievement is winning gold at the Valentina Kozlova  International Competition . Her style is minimalist but she is strong, crisp and moves with oriental  mysterious flare. 

Courtesy of Eunice Suba

With the birth of Team Philippines, I hope that the dance community will display once again the act of bayanihan. With blurred lines and territories, I hope everyone says a little prayer and sends an unlimited supply of light and love to all our competitors as they start their journey. At the end of the day aren't we all proud of them ready? 

To TEAM PHILIPPINES. May you receive the blessing of a charmed experience. May you take home what you need to soar to greater heights. 

Ballet Philippines' "The Nutcracker", A Tribute to the Filipino

The Nutcracker is so easy to love. Pyotr Ilyich Tchaikovsky's music alone transports you to a different place where happiness flows. The general story makes you feel like a kid again with all its colorful flourishes. Dolls, magic, and Christmas, what is not to love? It's that dependable escape that we can look forward to every year. However, Philippine Ballet Theatre just recently ushered in the Christmas season with their dynamic Gelsey Kirkland version. Their obvious success made me think that a second run  might feel a tad redundant for the ballet community. Fortunately, BP presented a perspective that differentiated their show in a very special way. While I don't encourage a rerun of doubles, it was nice to see two local productions sparkle in their own right.

The Nutcracker adaptations or tweaks have been done all over the world. Some have infused contemporary themes using advanced technology. Others simply put more technical aspects adapting to the amazing capacity of new dancers. Most are concentrating on the now. BP takes the other route. BP's Filipinized version of the Nutcracker takes us back to the 1920's and so eloquently makes a nuanced commentary about who we are as Filipinos WHILE preserving the charm of the ballet. I am elated that the combined versions of choreographers Edna Vida and (National Artist for Dance) Alice Reyes featured layered references to our cultural heritage in this staging. Consequential influences from our history were subtly incorporated into the staging without affecting the narrative of the story.

Class Act 

The glorious sets by the late National Artist Salvador Bernal were wonderfully ornate. The usual house was replaced with a grand ballroom with art nouveau arches with anahaw leaves, a style reportedly made famous at the turn of the century. The grand capiz windows reminded me of the preserved Spanish Filipino houses called "Bahay na Bato" in Batangas. Usage of this kind of set reeled in reality and allowed me to swim in the comforts of familiarity. In the middle is a stained glass decor. For a moment there I just appreciated the reference to our uniquely elegant architecture.

Just like in any Nutcracker production, Act 1 started with a party. In this case, it was time for Noche Buena (Filipino Christmas Eve feast). The hosts of the party Dona Aurora and Don Rafael summoned the Filipino favorite "lechon" to prepare for the guests' arrival. When the families arrived, the children were seen making "mano" to the elders. The dalagitas (young women) entered in clumps making sure that they do not cross paths with the binatas (young lads). There is implied "ligawan" that elicits chuckles from the young teens. The parents' dance was replaced by the Rigodon de Honor which is a traditional dance brought to the Philippines by the Spaniards. Usually reserved for the elite it is a dance that signals the beginning of a celebrated occasion. Don Alfonso (Drosselmeyer) arrived and in Filipino fashion was received like a "ninong" bearing gifts. What happens next is consistent with the Nutcracker we are all familiar with.

In Act 2 when Clara is brought to the Kingdom of the Dolls she comes down from a magical "Kalesa" which to this day exists in the Philippines. The "Waltz of the Flower" piece was replaced with the "Dance of the Viennese Dolls". It may or may not be intentional but it resembled the epic Filipino tradition of the Santa Cruzan where the maidens parade with their male escorts. The lanterns the boys held replaced the floral arcs or the umbrella (used for sunduan, a similar tradition). The lead dancer is the Reyna Emperatriz, the most beautiful of them all.

I loved all of these meticulously presented overtones because it celebrated the beauty of our culture, a product of various influences. Nothing that was highlighted can truly be called organically Pinoy but this presentation imitates life. We made it our own in a fascinating way. Productions such as these immortalize lived experiences and contributes to strengthening our identity as a people. The intelligent integration of our cultural heritage in a well known ballet classic practically demands that we take notice of who we were and who we still are. I used the word commentary earlier because it is also a reminder to abide by the values our ancestors instilled in us. The respect for elders, the respect for genders and most of all the respect for community. It keeps the conversation going much like an unsolicited advise from the Titas of Manila. The Filipino connection is what makes this ballet a class act.

Connected 

Edna Vida's Act 1 and Alice Reyes' Act 2 were like bread and butter, a very good fit. Usually it's the girls who are the stars of Nutcracker but in this production it was equal footing. The Nutcracker Doll and the Rat King both had ample time to show off their skill. The fireflies that replaced the Snowflakes scene demanded the boys to musically stay in the air while the dancers held their balance in arabesque repeatedly. The Spanish Dolls piece also made use of the boys for athletic partnering of the Senorita. As expected the Russian Dolls was an explosive display of ballon and flexibility. Six strong boys contributed their own ballet trick to the delight of the audience. It's nice to see a good balance of roles because it implies that they have a strong fleet.

While I appreciated the Viennese Waltz dancers, I severely missed the traditional Waltz of the Flowers. I missed the expected blossoming formations as well as the Dew Drop Fairy on spotlight. The waltz was pretty but was a bit complicated for my taste. Candice Adea's moments were dimmed by too much people on the stage doing dramatic lifts, jetes etc.

I also missed the highlight of the Snow Flakes where the stage is filled with at least 24 girls all assembled in rows chugging in all directions in arabesque position. This version also did the chugs but with just fourteen girls (or less) doing the step.

Simply Sublime 

Zabrina Santiago as Clara was simply adorable. She was delicate in her movements and innovative in her expression. I would have wanted her to have more exclusive moments but as is she was a wonderful Clara.

                      

Particularly memorable for me was Jessa Tangalin as the leader of the Russian Dolls. People should watch out for this girl. I last saw her in a contemporary piece where she blew my mind with her chameleon-like quality. This time around as a character dancer she  showed up with an eat-my-dust attitude. I could feel her power from my seat. She held her own showcasing trick after trick with the same (or maybe even more) aerial bravura as the boys.

                            

Denise Parungao's liquid movements made her an elegant Sugar Plum fairy. Clearly in her element she shared with the audience a calming energy. Her pas de deux transitions were for the lack of a better word "delicious".

 To end, Ballet Philippines' "The Nutcracker" is a beautiful production with lots of pleasurable elements. The well loved classic was sprinkled with the salt of Filipino flavor making it  a great tasting Noche Buena. Bravo Ballet Philippines. Let's not let a satisfying feast go to waste. See you at the theatre? 

Ballet Philippines ends their run this Sunday December 10, 2017 

You can still catch Ballet Philippines in "The Nutcracker" from December 8 - 10.

Call BP at 551-1003 or visit www.ticketworld.com.ph