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. 

New Ingredients in the Mix:Ballet Manila's From Page to Stage

Ballet Manila opens their 20th Season today with Tatlong Kwento ni Lola Basyang. Their offering is not a world premier. In fact it is traditionally Ballet Manila. The Lola Basyang series is almost like the Company's advocacy supporting the glorification of Filipino art for the benefit of the masses. The show will revolve around the literary works of the legendary Severino Reyes. Choreography was done by Ballet Manila staples Osias Baroso, Lisa Macuja and  the late Tony Fabella. So why watch it of you know it will be back to the season's repertoire  soon enough??! My Ms. Universe answer would of course be..."It is a nationalistic and artistic effort. It is important to support something you can call your own. ". My real Kris Aquino  answer would be... "The presence of youngbloods with talent should be enough to lure any crowd to the theater".  The latter being one that I feel more intently as of this moment.  Ballet Manila will open with four award winning  dancers joining their roster. Katherine Barkman, their newest recruit recently just won the 2015 Asian Grand Pix prize recently done in Hong Kong.  She also received the  silver in the Pas De Deux category of the same competition. The wonder twins of ballet will now step into the professional stage. Both Jasmine Pia Dames and  Jessica Pearl Dames were awardees in the 2011 NAMCYA Junior Competition. Jasmine took home the 3rd Prize and JEssica took home the Two Tony Special Award.  Internationally, they also fared well in the  2014 Asia Grand Prix competition. Jasmine bagged the silver medal in the Senior Division and Jessica ranked 4th. Recently, Recently, Jasmine  heroically took home the Bronze Medal in the Professional Category of the 2015 World Ballet Competition.  These three girls are not the only glittery recruits of the Company. However they are the ones that I am particularly interested in at the moment. I'm eager to see how they fare with the regulars of the Company. Add any extreme to a mix  and it will always result to an interesting flavor. Wealth of experience  and youth I believe creates a good balance which I think will help Ballet Manila sustain their season with ease. 

Take a look at the Ballet Manila 20th Season Line up. 

Preview Photography by Erica Marquez Jacinto 

                                    

(MISCHIEF OR MAVERICK CHOREOGRAPHY BY MARTIN LAWRENCE)

(PINOCCHIO CHOREOGRAPHY  BY OSIAS BARROSO)

(MURO AMI CHOREOGRAPHY BY GERARDO CRUZ)

ROMEO PERALTA AND TIFFANY CHIANG-JANOLO (HANSEL AND GRETEL CHOREOGRAPHY BY ALLAN HINELINE)

ROMEO PERALTA AND TIFFANY CHIANG JANOLO (HANSEL AND GRETEL CHOREOGRAPHY BY ALLAN HINELINE)