Hong Kong Ballet's Le Corsaire and Newly Found Treasures

Note : All performance photos are by Conrad Dy-Liacco

Septime Webre who stands as the new Artistic Director of the company is  a vibrant figure that represents energy and innovation. The astonishing  growth he brought Washington Ballet and their local community is of epic proportion. If his past performance is any indication of his commitment to fresh ideas, then a similar growth spurt should be expected for Hong Kong Ballet. It seems that his  leadership is all about  empowerment of creativity. It is my impression that creativity is his tool in reaching out to more people and connecting them through art. His first steps are quite telling.  This spirited man quickly made a very imposing good impression. So far he has enhanced the presence of the Company by social media activation with live feeds, teasers, visual click baits. While these are normal marketing tools, the Company's approach is very fresh, peppered with youth, charm and yes even humor.  He has captured  the attention of a new younger market by reintroducing  Hong Kong Ballet as an international player  who is inspiring yet RELATABLE.  He has also  brought inspiring guest artists and teachers  to join the Company productions (Don Quixote and most recently Le Corsaire)  enhancing the experience of both the dancers and their audiences. He has likewise improved their community connection by adding more  limited run workshops for dancers and balletomanes to enjoy.  There are pre-show, mid show and  post show activities for ticket buyers. He even opened the shows with speeches and ended them by facilitating meet and greets with the cast. His approach I believe is to create meaningful experiences WITH the Company. Through his efforts, the Company's reach is expanding and the good thing is what he has to show is good. His kick off efforts is a spanking good start. Madeleine Onne (who is also a dance visionary) is probably smiling knowing what she planned for 2017 is being carried out marvelously. 

The Company recently offered their premiere of "Le Corsaire" which was restaged by Anna Marie Holmes  after the choreography of Marius Petipa. Julio Bocca was also commissioned to enhance the authenticity of the performances. The story revolves around the adventures of a pirate named Conrad who needed to rescue his love interest the slave girl Medora. 

This ballet is not  famous because of the narrative. Instead it is popular because of the virtuoso type dancing that is required of the dancers. Hong Kong Ballet delivered and impressed crowds with their dependable technique and polished artistry. The first weekend shows featured renowned guest artists  but the Company's own dancers did not fall behind. Their talent remained in the spotlight. 

Maria Kotchekova as Medora 

Matthew Golding as Conrad

The November 4 matinee show featured Matthew Golding  as Conrad and JIN Yao as Medora. Golding was positively golden. His effortless extended  leaps were consistently buoyant. He tickled the audiences with multiple five rotation pirouettes. There is an  obvious tenacity in his movements making his pirate  swagger believable.   JIN  as Medora was every bit a seasoned Principal Dancer. Her  entrances were done with her body always opening up graciously to the audience. Medora's sequences include numerous complicated fouettes and corner turns but she succeeded   in complying with the technical demands. Plucked from the Corp De Ballet were WANG Qingxin who played Gulnare and Garry Corpuz as Lankendem.  Wang has everything it takes to be a star. She is blessed with beauty, grace and a flexible body. However, as Gulnare I could feel her nerves. She faltered in her corner turns and her fouettes. Often her movements during partnering felt tentative. While she was beautiful in every scene, her matinee performance was definitely far from flawless. Corpuz' performance was unexpected as he is a new recruit from the Philippines.  He delivered crisp and clean triple pirouettes   and jumps that can be likened to Golding's. Fully extended grand jetes, consistent tours en passe made his debut solid. Together, they make a good pair, their body types are complementary. I feel that this match up will have repeats in the near future. LI  Lin surprised me as he seemed meek but he was   dynamic as the slave and was able to  pull of his variation with ease.  Jonathan Spigner was energetic as Birbanto but his troubles with the Orchestra were quite distracting. The Odalisque is one of the highlights of the ballet and the matinee trio was triumphant. Especially brilliant was the performance of Japanese dancer Ayano Haneishi who did six sets of strong triple pirouettes in her variation. She left a very strong impression of dependability. 

Garry Corpuz as Lankendem and WANG Quingxin as Gulnare 

Matthew Golding as Conrad , JIN Yao as Medora and LL Jiabo as Ali

The gala show featured the world renowned  Maria Kotchekova as Medora and Wei Wei as Conrad. Kotchekova's version was only slightly different from that of JIN, Yao  but it seemed like I was watching a totally different show. I would say it was her  brazen approach to movement that  made  the difference.  She leaps and launches into lifts with no hesitation. Her lightness made her upside down fish dive so impressive. Her port de bras more than made up  for her size and she translated them into glorious sweeping movements that brought the audiences to an alternate reality.   Ultimately it was how she commanded her body to tell the story that made her moments on stage special. The only problem with her performance is the obvious height difference between Wei Wei and her. She reached only  the danseur's  shoulders  and the imbalance between a dynamic small ballerina and a gentle giant  was  unsettling. Perhaps someone like Principal dancer Shen Jie would have been a better match. In contrast, XIA, Jun and YE Feifei as Lankendem and Gulnare created magic. Their  pas de deux in Act 1 was a picture of seamless partnership. Individually, they also delivered sparkling performances. YE, Fei Fei's extensions were picture perfect. As Gulnare she appeared fragile but her movements were strong and solid.  She seemed to glide through the floor as she did her diagonal fouettes and double piques and lame ducks. With minimal effort she executed steps with the right breath and grace.  The performance of her Lankendem was entertaining. XIA is not only a strong dancer with hyper extended legs. He is  a great  actor with dominating presence. His approach was flashy and deliciously wicked.  WANG, Qingxin fully redeemed herself when she danced Odalisque. She was absolutely luminous in her variation. She likewise did a series of commendable triple pirouettes. This time she allowed the audience to fully enjoy her performance. Shen Jie as Birbanto exhibited nonchalant maturity in his steps. Eliciting cheers from the audience was the spectacular performance of  Li Jiabo as the slave Ali.. His inverted 540 thrilled the audience making them clap enthusiastically mid variation.  His ala second turns were fast yet controlled and his manege energetic

Maria Kotchekova as Medora and WEI Wei as Conrad 

YE Fei Fei as Gulnare and XIA Jun as Lankendem 

Shen Jie as Birbanto 

                         

The cast is not the only thing exceptional about this show.  Hugo Milan outdid himself with the sets and costumes.  The sets had a  modern take  yet  it did not compromise the details. In a muted way it blends in fantasy into the visuals. For instance the pirate cave  usually depicted as a dark earthy cave was replaced by a bejeweled enclosed space emphasizing the accumulated treasures of the pirates.  A gorgeous view of the moon decorated stage allowing for picturesque moments during the pas de deuxs. The transformation of the palace to the jardin was magical. The lights hit the golden pillars and in a mesmerizing blur transformed into a completely different set. Similarly the costumes he created were couture-like creations with rich details. The show ended with the  ship sinking  but it was cleverly executed using the perspective of the audience.  Seeing the water projected from front and the back of the stage created an almost inclusive three dimensional experience. 

Hong Kong Ballet's  "Le Corsaire" is obviously a product of harmonious collaboration. Webre succeeded in empowering everyone's creativity. The influence of Anna Marie Holmes and Julio Bocca  can be seen in the Company's passionate display of artistry on stage. The sets and costumes contributed greatly in adding color to the story. The interactive experience before and after the shows also brought great joy. This performance raises the bar for Hong Kong Ballet. Not only has Webre proven that he is a precious new treasure, he has also shown that he has the eye to see which people will shine  in the spotlight.   If he can keep producing shows with the same vigor,  Hong Kong Ballet's new chapter will be quite an interesting one.  There will be much to look forward to. 

Note : All interview photographs were shot by the author Erica Marquez Jacinto

Septime Webre and Matthew Golding
"This is the first time that I was given an opportunity to get to know the Company"

Matthew Golding with Ll  Lin

JIN Yao
" Le Corsaire is a very technical ballet. For me it is even harder than Swan Lake because  you are just turning from Act 1 until the end. There so much to think about while telling the story"

Ayano HANEISHI 

DONG, Ruixue

Luis Cabrera's Baptism of Fire

Photo from Hong Kong Ballet Page 

Hong Kong Ballet has always been part of my travel considerations. If my memory serves me right, I've seen at least one show from each season for the last five or more  years.   Through the years they have created so  many beautiful memories of art but nothing compares to days  you get to sit in that audience and see Filipinos shine. There is a robust flurry of Adrenalin that occupies me when our  very own Filipinos take on that massive Hong Kong Cultural Center Theater. In the past, I silently cheered for Carlos Pacis who was a refreshing  bravura danseur  who colored that stage passionately.  I  thoroughly enjoyed the journey of one of our laureled ballerinas Candice Adea as Soloist of  Hong Kong Ballet. My heart was overjoyed to see her at her very best. I've had the pleasure of witnessing former BP dancer   Luis Cabrera's first season with Hong Kong Ballet and was impressed that he stood out nicely with his schooled modern technique and unique earthy style.Thankfully, destiny would ensure that there always be a Filipino to watch out for.  Former Ballet Philippines artist Gary Corpus recently joined the company and I have no doubt that his stay will be just as fruitful. In my point of view, the  Company seems to have  been very good to our Kababayans, providing them with good experience, artistic opportunities  and priceless mentorship from international stars. But  this year is  is a game changer. Not only do we currently have two Filipinos with the Company, we  have something new to celebrate. 

Luis Cabrera
Photo by Conrad Dy Liacco from Hong Kong Ballet Page 

Hong Kong Ballet has an annual choreographer's showcase pretty much structured like Neo Filipino, Bagong Sayaw or Koryolab of CCP. It is an annual effort to encourage their dancers to evolve as dancers and at the same time explore choreography. Historically, it has been the launchpad for choreographers in Hong Kong since the 1980's. The Company accepts applications from their dancers, screens their initial concepts and ideas and picks the most promising ones to mount in the show.  In July of this year, I was ecstatic to see in the press release that our very own  Luis Cabrera was accepted into the program.The selected choreographers were  mentored in the aspects of mounting choreography, music, lighting, costume design and production design. Joining the Company's new artistic director Septime Webre in the panel of mentors  is Yuri Ng of  YatPo Singers and Anna Chan Head of Dance of Peforming Arts of West Kowloon Cultural District Authority. This is apart from the company's very own talent pool who are  very much involved in making the choreographers' vision a reality. Needless to say it is a very good opportunity  for Cabrera to make a mark for himself as a Choreographer. This opportunity however does come without a challenge. It is very much like a baptism of fire as it is actually his first attempt to create work showcasing commissioned work with  professional dancers. Even with his extensive schooling from Philippine High School of the Arts, Ballet Philippines and Hong Kong Academy for Performing Arts, I reckon the word easy still  would not be appropriate for developing  his international debut.  

According to Cabrera, his first step was to find inspiration. As he explained, he was initially drawn to the  movie "Schindler's List" . His piece is in no way a representation of the movie but touches on the recurrent issue of  death and puncturing feeling of loss. With the piercing quality of the music he explored  how loss and fear  can put you at a crossroad. Will the struggle hold you back or push you forward?Will the pain complete you or break you? In this piece he attempts to translate the abstract concept of loss in movement. His piece will be performed by  Principal Dancer Ll Jiabo, Soloist LIU Miao Miao, Coryphee Shunsuki Arimizu,  artists Forrest Oliveros, Henry Seldon and Liang Yonglin. His piece debuts at the Choreographer's Showcase on September 15  and runs until the 17th at the Studio Theater of  the Hong kong Cultural Center. 

Luis Cabrera
Photo By Tim Wong
From Hong Kong Ballet FB Page 

While his status in the Company is already enough for  the Philippines to be proud of him, it is equally stirring to see an international company recognize his potential as a creator of dance. Truly this one in a lifetime chance is one that brings pride to the Philippines. May his baptism of fire be from a radiant  candle  that can  illuminate his path. May its flickers of light be just the right amount to temper his skill and his passion so that he can move forward gloriously.   I wish him luck and encourage others to send a prayer or two to the heavens above for a flawless staging of his vision. His success after all is our success too. Cheers to a Filipino pride. Cheers to Philippine dance.  

Snippets of his piece published in Hong Kong Ballet 's page

Artist Feature: Novy J. Bereber

Photo by Diego Lorenzo Jose 

  

I've always been fascinated with people who embrace their uniqueness. Love for oneself is such a simple concept but it seems not many are able to live comfortably with their own skin. Novy Bereber is one of those blessed with the ability to be apologetically him. He enjoys unravelling his fabulosity bit by bit and finds ways to share it with the world, and I mean the world.

Photo by Diego Lorenzo Jose 

                           

Novy Bereber is a Filipino who started his dancing career with Dagyaw Theater Dance Company in Iloilo under the mentorship of Edwin C. Duero. He was given encouragement by Osias Barroso and Lisa Macuja to pursue a career in Ballet. With that much needed push he trained under Ballet Philippines until he rose the ranks and became one of their solid senior soloists. During his stint with Ballet Philippines he was given a chance to choreograph for the company. This privilege is reserved for a handful who are undeniably marked with talent and a strong point of view. His success with Ballet Philippines paved the way for even more opportunities to create pieces beyond the CCP walls working with important dance groups here and abroad. Blessed with fulfilling experiences both as a dancer and a choreographer he was able to make a name for himself.

Having seen majority of his body of work, I have through the years gained so much respect for him not only because of his talent in translating thoughts into movement. I have gained respect for him because through his pieces I see who he is as a person. Novy Bereber is a dynamic, energetic artist who has chosen to devote his time and effort to immortalizing the Filipino point of view through his dances. While not all his works are Filipino themed, he has an ample amount of works that ever so gently touched on who we are as a people. For Ballet Philippines he has created "Inay" who tells the story of how the Filipina is devoted to cradling her child even past his childhood whether they are near or far. Also for Ballet Philippines he created "To Whom it may Concern" where he shows the extreme sacrifice of the Filipino artists who migrate out of need. For Philippine Ballet Theatre he created "Angel of the Morning" one of his most controversial works which was intended to remind people about the presence of Igorot ethnicity. I have always  appreciated the patriotism and the meticulous concern for the Filipino.

To Whom it May Concern
Photo by Stan dela Cruz

Photo by Ador Pamintuan
Angel of the Morning

Photo by Ador Pamintuan
Dancer :Erica Jacinto and Lucas Jacinto
Ängel of the Morning

Today, Bereber resides in Australia with his beloved. He continues to do what he does best which is to create art and progressing quide rapidly.  He choreographed the opening and closing parade of Mardigra 2015. Recently  he participated in the 2016 Vivid Sydney Laser Dragon Water Fountain with  his choreography projected in an 82-foot meter high screen  overlooking the harbour.  2017 seems to be a good year for him as well as he has a few surprises up his sleeve. Doing quite well away from the Philippines he has the option to just  revel in his new success. Distance however does not diminish the heart's resolve. He continues to choreograph, dance and teach in Australia but has not wavered in embracing his roots. He works closely with Filipino Australian communities and generously allows his works about Filipinos to be performed. In fact he was awarded Filipino Australian of the year because of his involvement with the community. Quite recently he posted a video of him teaching Parkinson patients a Filipino Igorot dance mimicking the tribal steps. (Click the link : Novy Teaches Filipino steps to Parkinsons Patients) He consistently uses Filipino beats when he is teaching Contemporary in Sydney Dance Company. When he is needed to contribute to the Philippine dance landscape he hurriedly books a flight and works with Filipino dancers. I believe he will again visit Manila this October to create a new piece for CCP-Neo Filipino. With every achievement he conquers he shares it in Facebook and uses the hashtags #iamiloilo, #iloilopride, #pinoyaus #pinoydancer. He consciously attributes his achievements to his roots. All of this combined creates a picture of consistency and heart. This is a guy who remains Filipino despite the distance. He is completely devoted to being unchanged by circumstances. I used to think of him with high regard because he had talent and skill. Nowadays I think of him highly because he is a  portrait of a Filipino - malakas, magaling at may utang na loob. I wish him well and I hope that he unravels more layers and finds more ways  to contribute to our Philippine dance community.