BALLET MANILA TAKES FLIGHT WITH IBONG ADARNA (originally published in Theaterfansmanila)

Abigail Oliveiro as Ibong Adarna

Originally Published in THEATERFANSMANILA.COM CLICK THE LINK 
with edits including additional photographs from my collection 

Ballet Manila started this year with a very specific vision for the company. They resolved to move forward with a refreshed take on the classics, and create new ballets that will continue to tell stories that need to be remembered by the Filipino audiences.

As Ballet Manila boldly stated during their press con in the beginning of the year, they want to expand their wings with this season aptly called “Flights of Fantasy”. Taking it quite literally, their line up includes the contrast of avian nature in the classic Swan Lake and their recently concluded ballet, Ibong Adarna. However, more than the obvious reference to bird wings, I believe that through their first production, they also gave other things wings to fly. They are giving Philippine literature a chance to reconnect with audiences. It was also a rebirth of a dancer.

Gerardo Francisco, currently Principal Dancer and resident choreographer of the Company was given the daunting task of retelling Ibong Adarna independently taking charge of pretty much everything. Such a big opportunity to create with freedom is a rare one. Thankfully, the ballet’s first weekend of shows are perfect examples of defining moments born out of saying yes to opportunities. Francisco’s first flight was light and easy.

Ibong Adarna is a colorful story about a King who falls ill because of a premonition of betrayal. With Healers unable to help him improve his health, the queen was told of the mythical bird who could bring peace, tranquility and healing to those who have heard her melodies. She quickly sends out her sons Don Pedro, Don Diego, and Don Juan one at time in pursuit of the bird. After a series of tests on bravery, kindness, and sincerity, the true hero is revealed.

Ibong Adarna Reimagined

Gerardo Francisco’s staging of the ballet was quite different as he did not directly copy from a particular ethnic or rural community. Instead, he opted to create his own wonderland and used reimagined elements to paint the picture of the Filipino myth.  His assigned movements and characterization was easily relatable. Makisig, malakas, and matapang men filled the stage reflecting the Filipino archetype of warriors. His women, in contrast, were purposefully graceful but equally strong in stride. Noticeably, he has given a contemporary feel to folk dance.

Sets and costumes made by Make It Happen Workshop had an earthy feel with the use of natural materials such as bamboo, walis, banig, and pattern accents. Even the Ibong Adarna did not look like the usual rainbow-hued bird with long tail feathers. Instead, she was dressed completely in gold– keeping colors restricted to her make up. Supporting his vision is the all-original musical composition of Diwa De Leon, whose music was a good fit. Generally, the old elements were revamped keeping only the essential ideas intact.

                  

 

Picturesque Movement

The power of this ballet lies in its choreography. Francisco successfully weaved  patterns, created levels, and crafted sequences that were visually exciting. He has a penchant for rhythmical, electrically-charged dances which all typically require precision and presence of mind to be executed well. This is consistent in all the sections throughout the ballet. The ballet’s best moments were the wonderfully-shaped laudable unisons and ensemble work.

Within minutes of the show, it was quickly established that the ensemble would not take a back seat in this production. The opening number of boys and girls was energetic and polished. The first unison introduced the capacity of the dancers. Both the soloists and the crowd had their moment to shine. The amazon women also collectively displayed a powerful tour de force delivered with a singular breath. 

Slow Pace 

Storytelling transitions were often dealt with the curtains falling down unnecessarily to show the characters doing simple steps or even just running around. It was heavily anticlimactic to see it done over and over again.  Having Don Juan (played by Rudy De Dios) literally run from stage left to the second floor, and then to the stage via the audience entrance was quite disturbing.

There were also a few scenes or characters included to add humor that muddled the story. The sudden emergence of monkeys and fireflies that were pretty much Disney formula were underdeveloped.

Katherine Barkman as Queen Alitaptap

Magic of Storytelling

Noteworthy was the performance of the lead characters. Mark Sumaylo as Don Pedro with his princely swagger delivered wonderfully executed leaps. He stayed suspended in the air creating lines that were wonderfully picturesque. Romeo Peralta who played Don Diego had just the right touch of arrogance. His bastardly approach nicely differentiated him from the two brothers. Ever so consistent, Ballet Manila’s Principal dancer, Rudy De Dios as Don Juan, displayed refined technique and artistry.  This allowed him to navigate the story and command the audience to root for him.

Mark Sumaylo as Don Pedro

Romeo Peralta as Don Diego

Rudy de Dios as Don Juan

The Flight
Of course, no one can forget the two ladies who performed as Ibong Adarna. Abigail Oliveiro gracefully ascended from the skies. Striking a lovely contrast with the earthy grounded humans, she had the gracefulness of a swan and the passion of a firebird. With her elongated, sustained lines she convinced me that she was indeed a mythical bird that could make miracles with her movements. The role was shared by Gia Macuja Atchison who lent her melodious pitch perfect voice to accentuate the power of Ibong Adarna. In perfect harmony she likewise performed with the same tempered  grace and poise. Embraced with just a gentle spotlight, she still managed to capture the full attention of the audience. Her presence was always enough.

Abigail Oliveiro as Ibong Adarna

Gia Macuja Atchison as Ibong Adarna

Overall, the Ibong Adarna took flight and soared high without hesitation. Francisco’s first effort at a ballet was rich in flavor and abundant in talent. Led by Gerardo Francisco, Ballet Manila was rewarded with thunderous appreciative applause. It is beginnings like this that affirm that singular opportunities seized fervently can amount to more.

Run: August 26-27, 2017 and Septemer 2-3, 2017

Aliw Theater 

Ballet Manila 

Ballet Manila's Gerardo Francisco in Transition

A dancer transitioning to become a choreographer (or dancer/choreographer) is an organic progression. With the wealth of experience one gains as a dancer, you are able to increase your vocabulary. With more technique, you become more able to assist the dancers in moving the way you want them to move. With more performances under your belt, you have a better idea of how to rehearse and mount shows. However, creativity and depth while it can be influenced by exposure is not necessarily easy to achieve. It is because of this that the dancer usually steps into the role of the choreographer when he is ready to leave the stage to concentrate on his or her concept. This is the norm but it is not absolute. Gerardo Francisco, Principal Dancer of Ballet Manila joins the likes of Marcelo Gomes of American Ballet Theatre, Justin Peck of New York City Ballet and Erl Sorilla of Ballet Philippines. Still very much at his prime, he has decided to accept the challenge of being both a serious dancer and a serious choreographer at the same time. He has decided to be a maverick of sorts as he tries to achieve more in both paths.

Gerardo Francisco Photo Courtesy of Ballet Manila

Francisco has been creating pieces for Ballet Manila as early as 2003 when they allowed him to represent the company in the 2003 Asia Pacific Ballet Competition with his piece "Hunting". After this, it was as if the universe was telling him to continue this path. He had a string of good fortune with non stop recognition for pieces that he created. For two consecutive years, contemporary solos he created for Ballet Manila competitors won best choreography in the NAMCYA ballet competitions ("Bulag, Pipi at Bingi" in 2008 and "Hilas" in 2009). In 2009 his piece "OFW" won best choreography during the WIFI Body Competition. The same piece was also showcased in the 2016 Shanghai Contemporary Dance Festival in Shanghai, China. Later on he also won Bronze medal in Andong Mask Festival for "Morions" in 2011. While awards are always shiny things that remain in people's minds, I find that the true test is when the pieces remain in the people's hearts. Personally I generally see a lot of heart and energy ingrained in his movement and that I believe that is what made people want to see more of his creations. His works tend to be punctuated with moving beats, sobering patterns and rythmic repetitions. I rarely see subtleties in his work instead he favors strong and dramatic extended movements. I feel that his progression is helping him inch closer to  making his own brand of movement.   It is no wonder why Ballet Manila has been steadfast in their support of his craft. The continuity of his exploration has truly allowed him to mature into the role of a designer of movement. He has moved on to deeper themes, and grander projections of his ideas. No longer constraint with expressing himself with a just a few minutes of music, he has been given more freedom to explore.

Abigail Oliveiro as Ibong Adarna

This year, Francisco  was given his  biggest challenge to date. He was given free reign to create Ballet Manila's "Ibong Adarna" a full length ballet credited to his name. Key words being full length and ballet. With full creative control, he re-imagined the famous  Filipino  story of the mythical bird. When asked how he prepared for this gargantuan task, he calmly explained his process. Ibong Adarna was just an idea that he pitched to Ms. Lisa Macuja. When she accepted and supported the idea, he was overwhelmed with excitement so much so that  inspiration came easy. He fondly recalled how he started to envision the ballet.  He was influenced by "Aguila" that was created for him by Ms. Agnes Locsin. He also reconnected with "Corvus" (crows) which he created for not too long ago. Lastly, he studied the magic of Swan Lake. Studying the three different approaches to the bird, he thinks he has created something distinctly Filipino that people can relate to. Ibong Adarna will be premiered this August 26, 2017 at the Aliw Theatre. Everyone will be thinking of him as the curtains rise. Truly, this is his chance to elevate himself into the big leagues. It is somewhat a test of ability to capture an entire audience for more than an hour. However the outcome, what is more important is that he  continues to create and cultivate. If it's a hit then well and good if not, I am certain he is well on his way to the coveted corner of choreographers. As an advocate of original Filipino creations, I choose to think he will succeed in this task. Why don't we all see each other at the theater and see what this young, award winning choreographer has come up with?! See you at the theater?!

Ibong Adarna goes onstage at the Aliw Theater in Pasay City on : 

August 26 and September 2, 2017 6:00p.m.

August 27 and September 3, 2017 3:00 p.m.

Tickets are available at all Ticketworld outlets, online at www.ticketworld.com.ph, or call 891 9999.

Everything Was Beautiful at the Ballet: Ballet Manila's Don Quixote

Below is the reposted and edited version of my review published in Theater Fans Manila (See link below) with some of  my favorite photos from the production 

http://theaterfansmanila.com/review-ballet-manilas-don-quixote/

Ballet Manila’s closing show of “Don Quixote” had the springing vitality of an opening. Jasmine Pia Dames in her first ever leading role (Kitri), stepped into that stage leaving a trace of fire in her path. Her eyes ablaze with passion, her mouth perfectly shaped into a flirtatious smile and her legs ready for the first powerful grand jete’ (split jump). No trace of fatigue and injury, she gave the audience a clear message, “I’m new, I’m young and I deserve to be here.”

Don Quixote

Jasmine Pia Dames as Kitri

Ironically in a beautiful contrast, she was partnered with a veteran. Gerardo Francisco took on the role of “Basilio” and he too sent a message in his first sixteen counts. His was a resounding “I’m seasoned, I’m strong and I deserve to be here.” Indeed the opening conversation was as convincing as a sugary sweet bite of apple pie. Soon enough, I forgot about who was soloist and who was Principal because their magnetic chemistry left me in a blur. Their partnership seemed mature with every lift punctuated with quiet sustained balances. Their nuances with each other were charmingly believable. More importantly, they seem to already have gained confidence in each other. As in life, beauty on stage is about finding the right fit. Theirs was a pretty good match.

                       

Jasmin Pia Dames was a reliable technician. Save for her foiled fouettes she delivered extensions, gasp worthy leaps and clean turns. Evidently very comfortable on stage, she had a blast and so the audience also had a blast. She shared every moment with everyone in the audience not once holding back on her emotions. While there is room for purposeful refinement and restraint, her performance was a beautiful beginning of a promising career.

Gerardo Francisco was endearing. Perfectly cast, he showed up with an ample amount of boyish charisma. He defied gravity with his athletic jumps. He spun quadruple pirouettes with ease and consistency. I realize I have missed seeing this man top bill classical roles. I’m glad that he was given the chance to remind people how great he is as a classical dancer. His performance, I believe was a game changer.

                        

                        

The sensational pair was supported by a cast who clearly worked hard to deliver the full ballet experience. With a legion of soloists dancing as corps de ballet, the company looked very polished. Particularly beautiful was their picturesque dream scene. Lit up and colored like a fairy tale by lighting director Jimmy Villanueva, it was almost therapeutic to see the dancers move to the delightful music of Ludwig Minkus.

Jessa Ballote displayed strong technique with her quick and clean execution of  Cupid jumps. Her legs were consistently fully extended despite the  musical demands of the music. I would have loved to see her play and enjoy more but here solid technique is enough to be lauded. Crysdavince Violet as  the Dryad Queen was lyrical and she seems to be ever so comfortable with adagio combinations.

Worthy of mention is Reese Camaclang who is simply a force to be reckoned with. Armed with youth, she is definitely  attacking her career with passion. The same passion was exhibited in her vibrant and surprisingly mature interpretation of  Mercedes. Her presence consistently added color to every scene.  

                   

Overall the performance managed to tell a beautiful story of love and laughter while showcasing a full roster of impressive artists. Wearing  with beautifully made costumes designed by Michael Miguel  and  the late Eric Cruz, the dancers looked  pristine.   As the song goes, Everything was beautiful at the ballet. Everyone was beautiful at the ballet.

 February 26, 2017 

Aliw Theatre 

Substance on a Platter: Ballet Manila's Romeo and Juliet

Ever since I was young, I've always believed in giving respect to the theater. The stage  to me is not just a venue but a representation of the collective triumphs of artists. It is a place that glorifies the hard work of artists. More importantly it is a place that  sends a message to  non artists that the artist's life is worthwhile.  Having said that  I always get disappointed when newbies perform in their comfort zone and calculate every move they make.   When that happens it feels that the stage was  was not given ample respect. Personally, heart always weighed more to me than any other factors of a show. Ballet Manila's Romeo and Juliet  affirms that they have attained a level of maturity that practically ensures that each dancer understands the concept of  going full out. I saw   an ensemble  that offered their heart for the taking. Ballet Manila was a picture of  youthful endurance, artistic freedom and generosity. No doubt about it Romeo and Juliet will always focus on the leads  but it was refreshing to see  an ensemble fully invested in  telling a story. They supported the  characters con gusto with their dynamic execution of the quick-footed choreography. 

Katherine Barkman as Juliet showed that she was a sensitive artist. The ballet required numerous arabesques but each seemed different as she swept across the floor with a different breath each time. She paced her emotions with care as if to ensure that the audience felt everything with her. She had the audience ( well me at least) aching for a different ending even if everyone knew the story's tragic ending. Layers of emotion unfolded  like beautiful colors. I particularly enjoyed the balcony scene and her death scene. On a technical note, I love how her feet melt down nicely on the floor. The choreography  requires intricate transitions  in the pas de deux which she performs with complete trust in her partner. 

Rudy De Dios as Romeo was charming. He was focused on his portrayal of  the love stricken man tortured by thoughts of distance. I would have wanted to see a more boyish Romeo in Act 1 to establish the contrast as he introduces a more mature man towards his death. 

Barkman and De Dios are competent dancers. Their partnership was clean but despite their physical compatibility but did not have the Nuryev Fonteyn magic all couples aspire for. Truth be told, I thought  the  elegant Mark Sumaylo would be a good Romeo to Barkman. Organic chemistry was not quite there but I believe through time they will be able to make converts out of people. Eventually there will be a clamor for   team KatheDy. 

                    

Newbie but goodie Jasmine Pia Dames sparkled as the Mercutio's harlot. Teamed up with Gerardo Francisco, they gave a remarkable performance. The unlikely pair  commanded the stage.  Despite her height, it was hard to miss Dames' energy. She obviously enjoyed the spotlight. She made use of her seconds of fame.  I silently cheered for her as she joyously leaped, kicked and turned. Her size is quite a challenge considering Ballet Manila's roster of tall dancers but her performance  was just too good not too notice. 

The legendary partnership of Lisa Macuja and Nonoy Froilan on stage had me snapping away like a crazy photographer. I didn't want to miss  a single moment. This was a beautiful reunion. I honestly didn't expect much dancing from the couple as they played character roles but Paul Vasterling had them  lunging, lifting and backbending. All of which were of course done in the highest standards possible. 

The ballet performed was the vision of Paul Vasterling who is currently CEO and Artistic Director of Nashville Ballet. Ballet Manila is the first to perform his version in Asia. What makes his version unique was the pace of his story telling. Romeo and Juliet usually clocks in at least two hours and a half without intermission. This however was an audience friendly ballet. It was a speedy performance that was easy to ingest. Compared to other versions this has more technical dancing to enjoy. Juliet's friends  even  had mini solos consisting of different turns including fouettes.  My only disappointment was that when Tybalt died, Lady Capulet's time to grieve ended too quickly. This is usually one of the highlights of the ballet but it seemed like it was done in a minute. Lisa Macuja is an excellent actress and I would have enjoyed seeing her milk that scene leaving the audience in tears. Instead we had to move on to the next scene. 

To end, Ballet Manila's tragedy had a happy ending, with an appreciative audience clapping until their hands hurt. With good ballet technique, inventive choreography and a committed cast, success is inevitable. Substance on a platter simply works. Perfection can never really be achieved but that was a pretty darn good effort to stay on top. Bravo Ballet Manila.