PBT's Pinoy Komiks Still Flying High

Eons ago, Mars Ravelo started what would be a comic revolution. He became the single most popular comic novelist who created works that for a while became a national past time. His famous comic creations include Darna, Dyesebel and Valentina. There are articles that have implied that the heroines that he created depicted the hybrid that resulted from years of colonial mentality. The dual personality was to represent both the local Filipino culture and the idolatry of western culture. He did unapologetically take on the influence of the Superman era but he made it quite clear that his stories were about the Filipino. He immortalized in his stories myths and legends that were passed on from generation to generation. He made our folklore relatable and exciting. His comic book stories grounded both influences and created a niche market that grew to cult level size in no time. No doubt about it Mars Ravelo is the King of Comics in the Philippines. It comes to no surprise that so many have tried to use his characters as inspiration for a wide range of art forms.

In the nineties, Philippine Ballet Theatre produced "Pilipino Komiks" featuring Darna, Dyesebel, Bangenge and Valentina. With the music of Chino Toledo and the choreography of Gener Caringal they brought comics to the stage. The original cast included no less than Lisa Macuja as Darna, Melanie Motus as Valentina, Maritoni Tordesillas as Dyesebel, Noreen Austria as Bangenge. With a production that offered local stars with a huge fan base, flying superheroes and flying machines with mermaids, couture gowns from designer Ben Farrales, it was naturally received well by the audience. Despite the resounding success of this venture, it was never restaged until recently. It took years but thankfully, people finally recognized the cultural merit of this show. Beyond the entertainment value it promises are traditions and values that are immortalized through movement. It reminds me of cultural shows that other countries offer such as the Dance Opera of the Chinese, the traditional Cirque-ish presentations in Vietnam, Kabuki Theatre productions in Japan and the like. In celebration of Heritage Month, The Filipino Heritage Festival in partnership with the Cultural Center of the Philippines, National Commission for Culture and the Arts, Pagcor and of course Philippine Ballet Theatre, it returned to the CCP Main Theater last May 14, 2017. It was free show offered to the public to encourage preservation of the Philippine legacies. That it did beautifully.  "Pilipino Komiks" as it did before highlighted traditions such as the town fiesta, Santa Cruzan and the Salakot dance. It incorporated the concept of belief in mythical objects and creatures. It also played on values such as gratitude, joyfulness and sense of community through the characters. It was a good showcase of Mars Ravelo's alleged intentions.

This production did not happen without obstacles but I reckon the journey was worth it after hearing the loud appreciation of the elated audience. At the end it is not the pursuit of perfection but the pursuit of happiness that is more important. Kudos to the team who made sure that something worthy of such love from the audience was presented. The music created in the nineties was no longer in its perfect form due to preservation issues hence, a live band accompanied it to restore the vibrance it once had. Most of the costumes did not survive time. Because of constraints some mechanisms such as flying machines were not available for use in this staging.  What it couldn't provide was easily made up with new technology and new sets. The restaging of a ballet mounted on the stars of a ballet generation was likewise a challenge. Melanie Motus (original cast of Valentina) and Maritoni Tordesillas (original cast of Dyesebel) fondly recalls that the process of mounting the ballet came so naturally for  Gener Caringal. He knew the dancers well and was able to capitalize on all of their strengths.  Gener Caringal  created  Darna choreography for Lisa Macuja's strength and agility. The role of Darna had a whole list of showstoppers. Regina Magbitang who played the role of Darna in the recent  had to peform quite a number of recurring turns and fouettes in all sections of the ballet. So much so that watching her almost got me tired. Similarly, the rest of the cast also had a tall order. What was nice about it was that they were all enthusiastic to do justice to the roles and to respect the achievements of the previous dancers. Everyone simply enjoyed reviving a production that was celebrated by a different generation. 

The restaging of this ballet is very much a commendable patriotic effort from the organizers. I'm always happy to see that old works  (Mars Ravelo's and Gener Caringal's) are celebrated and shared on to new audiences. I am also overjoyed that the dancers of Philippine Ballet Theatre were given a chance to take on something old, something new, something borrowed  and something red. This is what you call a win-win situation.

WHO DID IT BEST?

Marika Desembrana as Rita 

Cathee Lee Roslotsev as Rita 

Lobreza Pimentel as Valentina

Melanie Motus as Valentina

Regine Magbitang as Darna 

Lisa Macuja as Darna 

Kim Abrogena as Bangenge

Restaging- Ronilo Jaynario
Production and Technical Direction :Michael Gegorio
Lighting Design - Roldan Lozano
Visual effects and animation - Andrei Roslovtsev
Stage Manager Raul Nepomuceno Jr.
Set Ececution - Lupo Adolfo Lasin
Costume Execution - Twinkle Zamora.
References : https://starforallseasons.com/2013/10/09/in-appreciation-of-mars-ravelo/

Much Ado About Something: Chinese National Ballet's Raise the Red Lantern

Touchdown of “Raise the Red Lantern” by the Chinese National Ballet in Manila comes with controversy and a lot of excited hush talking. The arrival of the Chinese National Ballet delegation in the Philippines comes a few days after a major Chinese show was mysteriously cancelled at the CCP. It also comes days after President Rodrigo Duterte announced that the Philippines is realigning with the ideological flow of the Chinese. These political declarations have prompted people to speculate whether the sudden approval of a three year old project has something to do with repainting of political colors. Is this show a mere statement or is it really a product of years of determined exchanges between the Chinese Embassy, the Cultural Center of the Philippines and of course the National Commission for Culture and Arts? I am inclined to believe the latter. Felipe de Leon Jr., chairman of the National Commission for Culture and Arts, said the largest number of cultural exchanges handled by his office has always been with China and that political issues have never deterred cultural exchanges. The Cultural Center's Artistic Director, Chris B. Millado, said they consider the 100-member ballet troupe's show in Manila and a reciprocal performance in China next year by Ballet Philippines as a "handshake not only between partners, it's a handshake between audiences, it's a handshake between cultures”. Let us leave it at that for now.

It’s no wonder that “Raise the Red Lantern” has become an internationally acclaimed Chinese ballet. Librettist and Director Zhang Yiou, has paved the way for renowned artists to create an admirable collaboration. Their presentation last October 27, 2016, was well received by the audience made up of primarily of the who’s who in the dance world. The bold contributions of the stage designer (Zeng Li), the costume designer (Jerome Kaplan), the lighting designer (Zhang Yimou) and of course the choreographers (Xin Peng Wang and Wang Yuan Yuan) and the talent of the dancers all have made the show a strong portfolio of Chinese art.  Not only did they show a good grasp of technique in theatrics, they also were able to manage to create cultural highlights. Brilliantly infused into the libretto was Chinese opera, martial arts, traditional folk dance, music and even social games. All done with flair but never compromising the story telling. Too much flavor sometimes ruins the soup but it in this case, it was a hearty spoonful of goodness. I respect their ability to temper their offering. 

The ballet exposes the inequality of genders in a feudalistic environment. The story is not merely about love and jealousy but rather a closer look at the human battle for control. In Chinese culture, the lighted red lanterns symbolize the Master’s strength and control. The ballet opens establishing this with beautiful red lanterns emerging from the darkness. Soon enough it was a legion of lanterns carried ever so gently and carefully by the ballerinas until the stage was filled with rows of dramatic luminosity. Perfectly on time with the music, the lanterns lit up one by one by the dancers revealing themselves in the process. This seamless introduction created the impression that the show was not just about ballet but a soothing and layered story telling visual and it was.

Portraits of a Woman

The characterization  in the story did not rely solely on the dancers. It was supported by dedicated color palettes, props and specific movements.  The energy of the dancers were consistently a good match to Quigang Chen’s complex music. Despite this comfort, the dancers delivered very strong portrayals. In hindsight their performance (over and beyond the lead characters) seemed more than just roles but also a representation of who the Chinese really are as a people.Take the good with the bad. 

I was pleasantly surprised that technique was a requisite but artistry and storytelling  came first in this production. The dutiful first wife, was elegantly performed by the effortlessly long  Li Jie . Lu Na gave a satisfying performance as the second wife. She was artistic, flamboyant, dangerously ambitious and ultimately selfish. The clarity and depth of her emotions was astounding. I particularly like how she developed her character subtly. Because she put layers in her performance, I wept with her in her final moments. The lead ballerina is played by Principal Dancer Zhang Jian who  portrayed a woman imprisoned by duty. She feverishly depicted her undying love for her lover. Her lyricism accentuated her grief. The range of movement of the three ballerinas was wonderfully grandiose. Their technique as expected was precise.

                                

Counterpoint in Choreography

Dramaturgy was far from lazy. Memorable to me were the organic use of props and sets in the choreography. In the first act when the first wife and the first concubine were introduced, fun and playful dancing by the ensemble excited the audience. With their contrasting steps each group mounted a choreographic counterpoint. The men of the company were also very impressive in their display of precise  athleticism.

When the second concubine rejects the Master of the house, they indulge in a shadow play and unexpectedly, the ballerina leaps and destroys the paper wall followed by the Master destroying another paper wall. It brought a sense of reality in the story. It had me placing them running away from each other in rich hallways.

In the second act, the distraught and disappointed first concubine was dealing with her failures and she decides to destroy the red lanterns in her master’s abode. She ends up on the floor  broken with her signature scarves from her minions embracing her like a coat of shame. 

In the last part, when judgement was being served to the concubines and the actor, men enter and slap a huge slab of red wood unto a pristine white wall creating not only noise but red marks depicting blood. At first the men trickled in until there were many hitting the wall and creating a painting of pain. It was almost too real.

And who can forget that gorgeous snow. have never seen snow glisten and fill the space like liquid water. It was poetic.

Best foot forward

In the end the production seized to be a ballet performance. It was a rich cultural experience. It was a good introduction to this new partnership. That being said, “Raise the Red Lantern” being the first installation of the agreement sets the level of expectation for the Filipino artists. But I have no doubt that Ballet Philippines’ “Encantada” will likewise leave them breathless in awe.

                               

 Photos Courtesy of Justin Bella Alonte 

Taken during the Technical Dress Rehearsal. 

Disclaimer Artists were not not in full make up and were not wearing their complete costumes at this time. 

Neo Filipino 2015 Reboot; More than a Replay

Sentimental me, I have always believed in the concept of time capsules. As children or even teenagers, we are encouraged to put a few items in a box so that you could open them up at a later time when there is a need to look back at your younger self.  It could be letters, diaries, special gifts, audio recordings etc.  The intention is to relive a few moments from the past and I guess learn from  them. Yesterday (July 24, 2015), I did just that. I went home with a sense of joy after having a glimpse of a rich past that I will cherish all my life. It reminded me that I was part of something that was bigger than myself.

 A couple of days ago, I was tagged in a post meant to encourage people to come see Neo Filipino. I messaged my friend Orly Agawan  and told him I was happy to know that a non dancer was supporting the show. Having seen the line up of the pieces to be shown, I knew that it was definitely a must watch. After that, we casually decided to do a podcast for his blog, jellicleblog.com. And so I went to my childhood playground and set my senses on fire.  It was as if I opened a time capsule laying out a moment in time where everything was beautiful at the ballet. 

Neo Filipino is one of the first modern shows  that I watched as a CCP scholar. Bereft of any dance or theatrical exposure, I went into the theater not knowing what to expect. We were required to watch these shows as part of our training. And so I went, excited that my name was in the souvenir program. I went home that day with my mind altered. Truth be told it was not that all the pieces were mind blowing. It was the thought that people could create such strikingly different work with the same vocabulary taught to them day in and day out. At that time I did not understand why the show was important. I only knew that it was  a breath of fresh air. Now that I'm older I not only see the good intentions of this show, I see its products. I am reminded of why this show is important 

A product of time 

I opened my Neo Filipino 1994 edition Souvenir program from way back. I turned the pages and I saw quite clearly that  Neo Filipino has done its job. The show was created to encourage young artists to bravely create dance perspectives.  It was meant to produce relevant choreographers. I opened the pages and low  and behold I saw  a line up that spoke volumes. At the helm, Agnes Locsin  was the artistic director of that show.   Alden Lugnasin, Paul Morales and Dwight Rodrigazo as junior choreographers presented their early works in  1994. Their write ups spoke of  their " interest in choreography". Look at them now, all  three are prominent figures in the dance world not only as dancers but as choreographers and  artistic directors.  It would be naive to say that they are where they are now solely because of the platform they were given. However, as an artist I know that every opportunity to share something with the audience is also an opportunity to receive something. Perhaps it was criticisms that taught them well. Perhaps it was the confidence that made them stronger. Perhaps it was a processing lesson from the masters that they worked with. But art on the platter definitely gives back something to the artist. Whatever they did to the gifts they received, they must have done something good. I'm quite sure the experience of seeing former prodigies show their art with their mentors this time as colleagues. 

A lesson in history 

The line up of choreographers include a roster of former Ballet Philippines artistic directors. Most of the pieces to be shown were created for Ballet Philippines during their active years with the company. Seeing the show would be getting a glimpse of  what the company was about  under the different directors. For the older dancers it would be reminiscing  a few glorious moments from the past. For the younger dancers, it is a history lesson worth paying attention to. To name a few of my favorites Neo Filipino 2015 Reboot includes Agnes Locsin's "Taong Talangka" which was an entry to the 6th Paris International Dance Competition. I think it won second if I'm not mistaken.   Alden Lugnasin's  "Flippers" was a well received piece in the nineties. It was a piece that gave Ballet Philippines II a lot of fame and attention.

Above photos from Neo Filipino Facebook Page

                         

A dancer's dream

It is a dancer's dream to dance the significant works of your mentors or favorite dancers. As JM Cordero( currently Ballet Philippines Principal Dancer) said during the Jellicle blog podcast, the dancers of this show feel a sense of privilege that they are given a chance to dance side by side former members of the Ballet Philippines as well as step into the spotlight formerly reserved for them. The pressure is indeed high but the dancers are all abuzz with excitement. Ronelson Yadao (Former Ballet Philippines Soloist)  mentioned how their only goal more than upping the old cast is to show how diversity works. Old and new, classic and contemporary, adagio and bravura, a merry of different flavors is always a good thing right?!

Change is a constant

As the name implies this is a reboot. It's aim is to revisit old works and present it in its new form. With new dancers performing the pieces it would be interesting to see if they are able to live up to expectations. The standpoint of the choreographer may have changed as well. A different frame of mind might change the tempo, the texture, the highlights of the choreography. This is after all a reboot. Change is inevitable. At the end of the day, it is always fun to judge if the change was for the better or not. #audienceperks 

In a nutshell

I see a lot of merit in this show. I don't know whose brilliant idea it was to do a reboot but I sure am glad that it materialized.  In a nutshell, with the amount of talent  this show relies on I highly doubt it would be anything less than amazing. Can't wait to  feel like that teenager who went home altered for life. I'm excited to be changed for good. 

Check out the photos below and I'm sure your curiosity will urge you to get that golden ticket to Neo Filipino 2015 Reboot

All photography by Erica Jacinto

Ms. Denisa Reyes at work 

Theater Actors transformed to dancer extraordinaires for Ms. Denisa Reyes "Asong Ulul"

In the Photos: Mailes Kanapi and Mae Paner

Neo-Filipino takes the stage from July 31-Aug 2. For tickets and more information, visit their page at https://www.facebook.com/events/437488136454904/ or call 832-1125 loc 1803 or 1409. ‪