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.

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. 

A Conversation with Joseph Gatti

 All Photos Courtesy of Ballet Philippines

A beautiful breeze is coming to Manila bringing with it gusts of wind  from different parts of the world.  It seems almost unrealistically lavish at  first glance but  it's about time our flourishing local dance world is  interrupted and  given another push to perform at par with the best of the best.  Our usually uneventful Manila is scheduled to open its arms to back to back foreign ballet artists. The first installation is generously provided by Ballet Philippines who will be bringing  millennial favorite  Joseph Gatti to perform the Principal role of Basilio in their season-ender "Don Quixote". While our local artists are perfectly capable of entertaining locals with the colorful story ballet, I would have to say they made an excellent choice in Gatti. He will prove to be more than just a good dancer visiting Manila. He is guaranteed to inspire people. 

This experienced professional has been a winner from the start of his career. He won the Youth American Grand Prix with a scholarship to the Royal Ballet School in London in 2003. He became the first American male dancer to win the prestigious gold medal at the New York International Competition in 2005 . In 2006,  he became the bronze medalist at the USA International Ballet Competition  and silver medalist at the Seoul International Ballet Competition. In 2007  Gatti bagged the gold medal in the prestigious World Ballet Competition.  His  time with companies like  American Ballet Theatre, Cincinnati Ballet, Corella Ballet and Boston Ballet are reflective of his well rounded experience. His success tells the  story of an artist who has had a spectacular journey with wonderful output. Google Gatti and you will see that he has the capacity to stun people with what he can do with his body. That's enough reason for ballet fans to be elated that he is dropping by Manila. Surely he will deliver athleticism and artistry in a silver platter. However there is another side of him that was revealed to me through our quick correspondence.   Sharing with you snippets of our conversation that will easily distinguish him as a good role model for artists.

• Gatti has always been very vocal about his gratitude towards teachers. When asked    about his parents' role in his success he had this to say. 

" I couldn’t have had my success without my parents. They  would always do anything for me up to this day. They have sacrificed a lot. Driving me to and from the school always so I would get my ballet classes in. They supported me through every moment of my training and career as a dancer. We were never a wealthy family but they made sure somehow to get the money needed for me when I went to the Royal Ballet School in London. My brother was the same, he would come to all my shows and constantly support and believe in me. We are all still super close to this day and we all live nearby in Orlando. It’s nice to be able to take care of my parents now when they need me after all the things they gave us it’s time to give back. I couldn’t be happier. And yes! My mother bribed me to take my first class I think it was 20 dollars "

        

His humility is safely locked in his system allowing him to move forward with an          attitude of gratitude.  

• With all his achievements, you would think he would be complacent by now. However his social media presence clearly shows that he is all about  continuously striving for more. I asked him how he remains ambitious and driven. 

" I think it’s a combination of learning and experience and just having the love and passion for the art. My parents always taught me to never give up. If you really want it and your hungry for it you can accomplish it. I just have this mentality of always tying to learn and improve no matter my age or how many competitions or awards I have won. Once you stop that you might as well retire. I’m always striving to do better in my dancing and artistry constantly just as a person as well. I want to dance for a long time healthy and strong. I believe I can do it with the proper balance and care for my body."

He is completely focused on the craft and he has  the capacity to see beyond what is already good and he works steadily on achieving bigger things.

• In recent times it was announced that Joseph Gatti would assume the role of founder and Artistic Director of United Ballet Theatre. It is a company that is dedicated to preserving the artist through creating an environment that ensures the health and happiness quotient is at an all time high. This new endeavor reflects how deeply he cares about the dancers' welfare. He explained his vision.

"United Ballet Theatre Company will have a schedule like no other company has had before. I have learned this from being in professional companies and freelancing as well. I truly believe having the proper rest time and balance of rehearsals and cross training makes the dancers stronger and healthier than ever. It will show onstage and the audience will be able to enjoy stronger, powerful artistic dancers who are happy on stage and feel they are in the best shape ever"

He seems to genuinely care for artists and is not afraid to go the extra mile so that others can enjoy their careers. He shares not only opportunities but mentorship as well. 

•  He believes in the health and happiness quotient and so I asked him what advise he could give to to others to sustain it on their own. 

"You must be true to yourself! If your unhappy at a place you must have the courage to stand up for yourself and move on. You need to  seek a place that you feel respected. When you have a company that believes in you, it will do wonders for the dancers. You can work them hard and all but to have that respect and belief towards them and care. That will make the dancers have longer healthier and happier careers. So for the dancers, it’s being strong, always seeking that respect and being able to communicate with each other and have that camaraderie  towards each other. Constantly learning."

 

He believes in the preservation of dignity in an artist's life.That just means he believes that dance should be and could be a sustainable career. 

It seems to me that Joseph Gatti is a shining example of a simple person who succeeded because of the right attitude.  He looks at his past with gratitude and keeps it in his pocket to keep him grounded.  He works hard everyday so that he can ensure that dance will be still his tomorrow. He demands respect but gives it willingly to all those who work with him. He cares about the art but he also cares about sharing it to people. He is sure of what he wants for himself, sure of what he wants to offer others and most positively certain about how he wants to contribute in the world he lives in. His clear mindset is inspiring. Perhaps this  is what has allowed him to achieve so much.  Truly a lot of people can learn a thing or two from him. I can't wait to see him share his art to the Philippine dance community.  See you at the theatre. 

Check my page for updates about Joseph Gatti, Ballet Philippines and other dance news in the Philippines https://www.facebook.com/artaturningpointe/