Revelations :Hong Kong Ballet's Season Finale

It has been months since Hong Kong Ballet closed their 2014 season. I delayed this post because of a personal promise I made to a friend. I contemplated not writing it altogether. However, the show was so potent that I couldn't set aside the imagery and the emotion that I took home that night at the theater. 

I have grown fond of Hong Kong Ballet's mixed bill productions because there is always something unique to be seen. It's never a replica or a substandard copy of a previous production. The point of view of every mixed bill production is always loud and clear. This particular mixed bill for me is special in a different way. I feel that on that stage, several artists shared pivotal moments in their lives. Shakespeare said it best when he said " All the world is a stage, and all the men and women merely players: they have their exits and their entrances; and one man in his time plays many parts, his acts being seven ages."  I know the quote was meant to describe the intricacies of universal life. However, it is ironically describes what the artists shared with the audience in that show. 

Let me explain. There were several revelations that night.  For one, I knew that Jurgita Dronina was to dance Paquita. What I didn't know was that she was to join the Company as the newest Guest Principal Dancer.  One of the reasons I flew to Hong Kong was to see her dance again. She made quite an impact a few years back when she performed in Ballet Manila's World Stars of Ballet Gala. I  had no idea that she was going to take on the role of Guest Principal Dancer. For the longest time, it had only been Yuan Yuan Tan who was the proclaimed Guest Principal Artist. She would occasionally  take part in at least one of the season productions. Upon seeing that title in the program and several mini articles about her in the internet, my mind started spinning. Was she going to visit Hong Kong more often now? Will Hong Kong Ballet be a second home to her? I was excited to say the least about the possibilities.  The season finale I  watched was her first show (to my recollection) with Hong Kong Ballet. She took on the role of the ballerina in Paquita. There were a few slips that happened that night but none big enough that could diminish the sparkling beauty of this lady. Her extensions were  picturesque. Her fouette tricks were impressive. Her elegance is comparable to that of Margot Fonteyn and Audrey Hepburn.Finally her energy was engaging. All that being said, she is a trophy addition to the Company. It was her first entrance  to Hong Kong's spotlight, one that was met with thunderous applause. To me it was a historical moment.  I can't wait to see more of her in the coming seasons. 

Photo: Kitmin Lee 

That is not all that took me by surprise that night. Another dancer was  at a turning point in her career and on that stage she made her final statement. I was able to follow Candice Adea's progression in Hong Kong Ballet. She has been a friend to me for years and I have always loved supporting her triumphs with the Company. Indeed she has been a pride and joy for the Filipino dance community. I saw her first production with the Company and was fortunate enough to see her last. You see, after  an illustrious  two year stint with the Company, she bids them goodbye to join Ballet Met.  I would have loved to see her end her affiliation with the Company with a more principal role. But I have to admit, she was a feisty charmer in Alexei Ratmansky's Carnivale. She exits with a  lasting impression.  She is one of the smallest dancers with the biggest movements  on stage. She took on the role of lead hen. In the mix of animals, her sprightliness and clarity of movement was too cute to forget. I'm sad to see her leave for a farther destination but I am excited to see her add another feather on her cap. Bon Voyage Candice Adea, until we meet again. 

Dancers: Candice Adea, Naomi Yuzawa, Yuri Moriwaki
Photo: Conrad Dy-Liacco

                                     

So you see so many personal stories marked by performances on stage. My favorite would have to be the biggest revelation of them all.  I have seen Hong Kong Ballet succeed  in dancing pieces by world renowned choreographers. In the same production, they succeeded in giving life to Alexei Ratmansky's entertaining Carnivale. However, seeing the world premier of "Bolero" left me at an unparalleled state of awe and admiration. Yuh  Egami  and Ricky Hu are both active dancers of the Company.  I had no idea that the the choreographers who would succeed in  creating a work that is distinctly perfect for the Company would be one of their own. "Bolero" is a a piece about  the ascent of depression of a modern woman. It aimed to humanize  how one could possibly lose your mind with the number of voices  you hear in your solitude. The theme was quite bold but the presentation of the concept even bolder. Principal dancer Liu Yu-Yao was found fragile inside  a white architectural set  framing her. Liu Yu-Yao put just the right amount of madness and lucidity in her portrayal.  The set  that initially caged her like a  mental institution  soon  evolved into a more personal space, a window, a door, a table, a chair  that featured the ballerina's  frame of thought.  The set had its own choreographed transitions that were so purposeful and effective in highlighting moments.  The characters representing the voices in her head  weaved in and out with the set as their playground. The piece was so intense not only because of the powerful dancers but because it was clearly a well thought of. The two choreographers were indeed  god storytellers. Not only do they have impeccable taste and a good grasp of dance vocabulary, they also have a commitment to innovation. Bolero just proved that Hong Kong Ballet now has double threat artists on their side. I do hope I get to see more of the duo's genius. 

Dancers: The Hong Kong Ballet Dancers
Photo: Kitmin Lee

Dancer: Liu Yu-yao
Photo: Kitmin Lee

Dancer: Liu Yu-yao, Shen Jie, Leung Chung Long
Photo: Conrad Dy-Liacco

The season finale was eventful with someone new arriving, someone old exiting, and two people's careers evolving. In summary, it was a closing that would make anyone excited about the new season. Bravo. 

For those who are interested, Check out the link of Bolero and Carnivale (With Candice Adea dancing in it)

https://www.youtube.com/watch?v=oaEP6R59zTk  (Bolero)

https://www.youtube.com/watch?v=Hva_ztzgSCU (Carnivale)

Hong Kong Ballet's Dream of the Red Chamber: Chinese Classic on Center stage

A mix of cultures, genres and taste levels always excite me as an audience member. I actually have a fascination for very ethnic or folkloric pieces being transformed into ballets. I'm not quite sure about other countries but I have seen very few translations of  culturally bound literary pieces. There is definitely an abundance of short choreography but full lengths are rare. To me, this is understandable since the challenge of staying true to cultural  and literary truths while leaving a definite impression is big. Hong Kong ballet definitely embarked on an ambitious project with Dream of the Red Chamber.

Dream of the Red Chamber is considered one of China's greatest novels with over a hundred characters and consequently  numerous highlights. . Culture, political color, love and life,.....  How do you all put it together in one ballet?

The curtains rose to reveal an almost 3d teleserye savvy looking flat stage with all the characters in a tableau. Slowly the stage and the panels came to life. The stage platforms moved forward ever so smoothly allowing the light to touch the faces of the central characters. It rotated until the platform disappeared and revealed the opening scene. Out came the characters we were to encounter. The story revolved around a mythical story about how a mythical stone enters the human realm and is embodied by the lead  Jin played by Wei Wei. He is at the center of story. His political family requires that he marries  a maiden named Baocha for the sake of stability. However he years for a maiden named Daiyu. Both ladies could not have been more different from each other. In the end he chooses Baocha which leads to his emotional grief and a collapse of his humanity. Daiyu dies in grief  and leaves the earth with an undying legacy of  sorrow for Jin . There's actually more to the story than that as the novel undoubtedly had shades of political opinion and history.  

The two and half hour staging was as complex and loaded as I expected. I'm actually conflicted about how I feel about it all. There were moments when my mouth was hanging from the richness of the choreography, the color and aesthetics of the stage. However, there were unbearable moments where I just wanted to sleep and or literally walk out. The choreographer  Wang XIn Peng beautifully interpreted Chinese culture highlights. Memorable to me was the girls' dance with the sleeves. I've seen this traditional dance before, but the choreographer took it to a whole other level of fascinating. it was visually a feast of off center movements. The slightest of the jumps made the sleeves  create beautiful colorful shapes.  The pas de trois of the three leads was stunning. The lifts and the transition of Jin  from  Daiyu to Baocha was exciting. Since, this pas de trois was done in the first act at this point, the audience really had no idea who Jin was going to pick. His chemistry with both provided a space for wonder. The pas de deux between Jin and Daiyu using the red scarf made me sit up and just watch the complexity of life happen on stage. I was drawn to the red scarf as if it was my life line. My eyes were moving back and forth with the red scarf as the two dancers pulled and pushed each other. I loved the drama of it all. The dances I mentioned were not just beautifully choreographed, they were framed to perfection by a set designed to impress. The set evolved from scene to scene as if it were turning the pages of a book. I have never seen a more artistically sensitive and emotionally connected (to the choreography) set than  this.  What I didn't like about this ballet was that it included so many scenes that took us away from the simple story of the love triangle. True, it was much about the cultural and political influences of that time that made the story unique. However, I hated the ten or so minutes of video presentation, it  killed the momentum of the story. Furthermore I also almost died watching  a super duper long fashion catwalk  that I could not connect to the story. While I have no doubt  that it is to a degree relevant, it was painfully boring. I appreciated that they brought the story forward and transported them to the modern times, ... and yes I did love the awesome cherry blossom scene, I couldn't understand why they had to incorporate in a very long long long scene ( it seemed long) of war.With all that in mind, ...... conflicted. 

Wei Wei who played the main character was captivating. More than the technicality of his steps, it was the depth of his emotion that drew me in. I sympathized with him even if his character was weak and fickle minded.  He partnered  his ladies beautifully with able arms while maintaining a very strong connection to each of the women. The real meat of the story however was translated by its two ladies.  Soloist Liu Yuyao who plays Daiyu , with her long legs and perfectly arched feet was picturesque with every step making a beautiful memory in my head. She is very much a lyrical dancer and is perfectly cast in the role. She did look the part, fragile but unconventionally beautiful. Principal dancer Wu Fei Fei played the role of Baocha, the sensible,conservative option for our lead. I must say, she was every bit a Principal Dancer. Though I loved all the leads, she will have to be my favorite. She has a very strong command of the stage. It seemed that everybody else kind of blurred away every time she started dancing. Her preciseness was commendable. Though she was the "other woman", half the time it made sense to me to pick her over Daiyu. Her extensions were swift yet elegant. Her grand jetes, seemed to float effortlessly across the floor. The thing I like most about her was that she had the flare, her movements seemed to me like a stylish Michael Cinco gown. She was effervescent, ultimately impalpable. 

In the end balletomane that  I was, I didn't regret flying to Hong Kong to see this ballet. I appreciated the Hong Kong dancers much much more. Though I am not  resident in Hong Kong, I feel almost connected to them as a fan. I enjoyed the  fusion of chinese elements and history to the western art form. Even with my dissatisfaction over the entire Act 3, I see vision and a high amount of art in this play. Kudos to Hong Kong Ballet for embarking on such a risque journey. Kudos for leaving if anything a very definite imprint of China in the hearts of the audience.  Thank you for a taste of Asian drama. 

On a personal note, I loved seeing Manila's very own Candice Adea dance on the Grand Theatre of the Hong Kong Cultural Center. She was the cutest Asian girl ever to appear on that stage armed with her potent stage presence. My heart fills with pride. Also, I loved the appearance of a certain Frank Van Tongeren who played several bit roles. He was energetic and magnetic. He reminds me of American Ballet Theatre's Marcelo Gomes.