The Nutcracker is so easy to love. Pyotr Ilyich Tchaikovsky's music alone transports you to a different place where happiness flows. The general story makes you feel like a kid again with all its colorful flourishes. Dolls, magic, and Christmas, what is not to love? It's that dependable escape that we can look forward to every year. However, Philippine Ballet Theatre just recently ushered in the Christmas season with their dynamic Gelsey Kirkland version. Their obvious success made me think that a second run might feel a tad redundant for the ballet community. Fortunately, BP presented a perspective that differentiated their show in a very special way. While I don't encourage a rerun of doubles, it was nice to see two local productions sparkle in their own right.
The Nutcracker adaptations or tweaks have been done all over the world. Some have infused contemporary themes using advanced technology. Others simply put more technical aspects adapting to the amazing capacity of new dancers. Most are concentrating on the now. BP takes the other route. BP's Filipinized version of the Nutcracker takes us back to the 1920's and so eloquently makes a nuanced commentary about who we are as Filipinos WHILE preserving the charm of the ballet. I am elated that the combined versions of choreographers Edna Vida and (National Artist for Dance) Alice Reyes featured layered references to our cultural heritage in this staging. Consequential influences from our history were subtly incorporated into the staging without affecting the narrative of the story.
Class Act
The glorious sets by the late National Artist Salvador Bernal were wonderfully ornate. The usual house was replaced with a grand ballroom with art nouveau arches with anahaw leaves, a style reportedly made famous at the turn of the century. The grand capiz windows reminded me of the preserved Spanish Filipino houses called "Bahay na Bato" in Batangas. Usage of this kind of set reeled in reality and allowed me to swim in the comforts of familiarity. In the middle is a stained glass decor. For a moment there I just appreciated the reference to our uniquely elegant architecture.
Just like in any Nutcracker production, Act 1 started with a party. In this case, it was time for Noche Buena (Filipino Christmas Eve feast). The hosts of the party Dona Aurora and Don Rafael summoned the Filipino favorite "lechon" to prepare for the guests' arrival. When the families arrived, the children were seen making "mano" to the elders. The dalagitas (young women) entered in clumps making sure that they do not cross paths with the binatas (young lads). There is implied "ligawan" that elicits chuckles from the young teens. The parents' dance was replaced by the Rigodon de Honor which is a traditional dance brought to the Philippines by the Spaniards. Usually reserved for the elite it is a dance that signals the beginning of a celebrated occasion. Don Alfonso (Drosselmeyer) arrived and in Filipino fashion was received like a "ninong" bearing gifts. What happens next is consistent with the Nutcracker we are all familiar with.
In Act 2 when Clara is brought to the Kingdom of the Dolls she comes down from a magical "Kalesa" which to this day exists in the Philippines. The "Waltz of the Flower" piece was replaced with the "Dance of the Viennese Dolls". It may or may not be intentional but it resembled the epic Filipino tradition of the Santa Cruzan where the maidens parade with their male escorts. The lanterns the boys held replaced the floral arcs or the umbrella (used for sunduan, a similar tradition). The lead dancer is the Reyna Emperatriz, the most beautiful of them all.
I loved all of these meticulously presented overtones because it celebrated the beauty of our culture, a product of various influences. Nothing that was highlighted can truly be called organically Pinoy but this presentation imitates life. We made it our own in a fascinating way. Productions such as these immortalize lived experiences and contributes to strengthening our identity as a people. The intelligent integration of our cultural heritage in a well known ballet classic practically demands that we take notice of who we were and who we still are. I used the word commentary earlier because it is also a reminder to abide by the values our ancestors instilled in us. The respect for elders, the respect for genders and most of all the respect for community. It keeps the conversation going much like an unsolicited advise from the Titas of Manila. The Filipino connection is what makes this ballet a class act.
Connected
Edna Vida's Act 1 and Alice Reyes' Act 2 were like bread and butter, a very good fit. Usually it's the girls who are the stars of Nutcracker but in this production it was equal footing. The Nutcracker Doll and the Rat King both had ample time to show off their skill. The fireflies that replaced the Snowflakes scene demanded the boys to musically stay in the air while the dancers held their balance in arabesque repeatedly. The Spanish Dolls piece also made use of the boys for athletic partnering of the Senorita. As expected the Russian Dolls was an explosive display of ballon and flexibility. Six strong boys contributed their own ballet trick to the delight of the audience. It's nice to see a good balance of roles because it implies that they have a strong fleet.
While I appreciated the Viennese Waltz dancers, I severely missed the traditional Waltz of the Flowers. I missed the expected blossoming formations as well as the Dew Drop Fairy on spotlight. The waltz was pretty but was a bit complicated for my taste. Candice Adea's moments were dimmed by too much people on the stage doing dramatic lifts, jetes etc.
I also missed the highlight of the Snow Flakes where the stage is filled with at least 24 girls all assembled in rows chugging in all directions in arabesque position. This version also did the chugs but with just fourteen girls (or less) doing the step.
Simply Sublime
Zabrina Santiago as Clara was simply adorable. She was delicate in her movements and innovative in her expression. I would have wanted her to have more exclusive moments but as is she was a wonderful Clara.
Particularly memorable for me was Jessa Tangalin as the leader of the Russian Dolls. People should watch out for this girl. I last saw her in a contemporary piece where she blew my mind with her chameleon-like quality. This time around as a character dancer she showed up with an eat-my-dust attitude. I could feel her power from my seat. She held her own showcasing trick after trick with the same (or maybe even more) aerial bravura as the boys.
Denise Parungao's liquid movements made her an elegant Sugar Plum fairy. Clearly in her element she shared with the audience a calming energy. Her pas de deux transitions were for the lack of a better word "delicious".
To end, Ballet Philippines' "The Nutcracker" is a beautiful production with lots of pleasurable elements. The well loved classic was sprinkled with the salt of Filipino flavor making it a great tasting Noche Buena. Bravo Ballet Philippines. Let's not let a satisfying feast go to waste. See you at the theatre?
Ballet Philippines ends their run this Sunday December 10, 2017
You can still catch Ballet Philippines in "The Nutcracker" from December 8 - 10.
Call BP at 551-1003 or visit www.ticketworld.com.ph
