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.

Substance on a Platter: Ballet Manila's Romeo and Juliet

Ever since I was young, I've always believed in giving respect to the theater. The stage  to me is not just a venue but a representation of the collective triumphs of artists. It is a place that glorifies the hard work of artists. More importantly it is a place that  sends a message to  non artists that the artist's life is worthwhile.  Having said that  I always get disappointed when newbies perform in their comfort zone and calculate every move they make.   When that happens it feels that the stage was  was not given ample respect. Personally, heart always weighed more to me than any other factors of a show. Ballet Manila's Romeo and Juliet  affirms that they have attained a level of maturity that practically ensures that each dancer understands the concept of  going full out. I saw   an ensemble  that offered their heart for the taking. Ballet Manila was a picture of  youthful endurance, artistic freedom and generosity. No doubt about it Romeo and Juliet will always focus on the leads  but it was refreshing to see  an ensemble fully invested in  telling a story. They supported the  characters con gusto with their dynamic execution of the quick-footed choreography. 

Katherine Barkman as Juliet showed that she was a sensitive artist. The ballet required numerous arabesques but each seemed different as she swept across the floor with a different breath each time. She paced her emotions with care as if to ensure that the audience felt everything with her. She had the audience ( well me at least) aching for a different ending even if everyone knew the story's tragic ending. Layers of emotion unfolded  like beautiful colors. I particularly enjoyed the balcony scene and her death scene. On a technical note, I love how her feet melt down nicely on the floor. The choreography  requires intricate transitions  in the pas de deux which she performs with complete trust in her partner. 

Rudy De Dios as Romeo was charming. He was focused on his portrayal of  the love stricken man tortured by thoughts of distance. I would have wanted to see a more boyish Romeo in Act 1 to establish the contrast as he introduces a more mature man towards his death. 

Barkman and De Dios are competent dancers. Their partnership was clean but despite their physical compatibility but did not have the Nuryev Fonteyn magic all couples aspire for. Truth be told, I thought  the  elegant Mark Sumaylo would be a good Romeo to Barkman. Organic chemistry was not quite there but I believe through time they will be able to make converts out of people. Eventually there will be a clamor for   team KatheDy. 

                    

Newbie but goodie Jasmine Pia Dames sparkled as the Mercutio's harlot. Teamed up with Gerardo Francisco, they gave a remarkable performance. The unlikely pair  commanded the stage.  Despite her height, it was hard to miss Dames' energy. She obviously enjoyed the spotlight. She made use of her seconds of fame.  I silently cheered for her as she joyously leaped, kicked and turned. Her size is quite a challenge considering Ballet Manila's roster of tall dancers but her performance  was just too good not too notice. 

The legendary partnership of Lisa Macuja and Nonoy Froilan on stage had me snapping away like a crazy photographer. I didn't want to miss  a single moment. This was a beautiful reunion. I honestly didn't expect much dancing from the couple as they played character roles but Paul Vasterling had them  lunging, lifting and backbending. All of which were of course done in the highest standards possible. 

The ballet performed was the vision of Paul Vasterling who is currently CEO and Artistic Director of Nashville Ballet. Ballet Manila is the first to perform his version in Asia. What makes his version unique was the pace of his story telling. Romeo and Juliet usually clocks in at least two hours and a half without intermission. This however was an audience friendly ballet. It was a speedy performance that was easy to ingest. Compared to other versions this has more technical dancing to enjoy. Juliet's friends  even  had mini solos consisting of different turns including fouettes.  My only disappointment was that when Tybalt died, Lady Capulet's time to grieve ended too quickly. This is usually one of the highlights of the ballet but it seemed like it was done in a minute. Lisa Macuja is an excellent actress and I would have enjoyed seeing her milk that scene leaving the audience in tears. Instead we had to move on to the next scene. 

To end, Ballet Manila's tragedy had a happy ending, with an appreciative audience clapping until their hands hurt. With good ballet technique, inventive choreography and a committed cast, success is inevitable. Substance on a platter simply works. Perfection can never really be achieved but that was a pretty darn good effort to stay on top. Bravo Ballet Manila. 

Deconstructing a Classic: Romeo and Juliet

Deconstructing classics tend to make me cringe a bit. It is not because I don't appreciate different perspectives, because I do. It actually excites me. It is more the fear that envelopes me as I wait and see if the performance will capture the essence of the masterpiece or reduce it to nothing. Many lose sight of the material and instead concentrate on personal and commercial goals, artistic insecurities and shock factor.

Thankfully, the people behind Manila Shakespeare Company as their chosen name implies, puts Shakespeare in a pedestal. They courageously chose Romeo and Juliet as their first offering to the public. That they did with much respect to the story. The twist was an adaptation of the classic to modern times.  The words of Shakespeare were never compromised throughout the play. It was however peppered with Filipino slang with the intention of making it more relatable to the audience. There were times it worked, and there were times I found it excessive and even distracting. Nonetheless it did not take away anything from the story. With how the story progressed, it was clear that director Nicanor Campos knew the material inside and out. It was obvious that he took the time to dissect each scene with the cast to humanize the brilliant words of Shakespeare.

Nicanor Campos picked the perfect Romeo and Juliet for his debut production. It helped that both leads were picture perfect. But it really was their passionate commitment to their roles that made all the difference. Nelsito Gomez impressed the audience with his boyish charm and intensity. Eyes were glued to him because he created moments of magic in his monologues. Memorable was the death of Tybalt where his struggle was evident with his staring eyes and his ever so slight trembles.

Rachel Coates was a modern Juliet. She did not approach the role with delicate stereotypes in mind. Intead, she was a modern, thinking, even brazen young lady. She was a vision of beauty as the light hit her face in the balcony. Oh the look of love!!!! It was endearing to say the least. She truly embodied the young Juliet who was in love with love.  

Who could forget the multi-tasking Katski Flores who masterfully portrayed both the nanny and Lady Montague. Her gutsy interpretation was what glued everything together. It was she who excellently inserted the Filipino slang appropriately and with ease. Easily the biggest and most important star of the show. She embodied the deconstruction and made it work.  With her every scene she gave a different, relatable take on the play of words. Truly it was a brilliant performance.

The characters all did their part pouring energy in every scene. Transitions and scene support from the ensemble were seamless as they ran all over the place without breaking sweat or causing distractions. A commendable effort overall from the cast.

While it is true that the play had a good solid cast, there were areas that could have been improved. There were crucial misses  in the lighting diminishing the effect of the actor's delivery. The audience had to squint to see Juliet's acting in the dark unlighted staircase. Changes from night and day were not evident. More importantly, some scenes had white washed light. While it is true that resources are compromised, there is reason to believe it is more timing that was the issue rather than  play of colors. There were several scenes.that were beautifully framed with light. The blocking of artists should have also considered the audience vista. In fact the play ended with half the room missing out on Juliet's death.

In a nutshell, Manila Shakespeare's theatrical debut legitimized itself as a theatre group with this production.  This being their first offering, the fitting query would be, "Did they give enough? ". I think they (the whole production) did. The best is yet to come for this neophyte company. I wish them well as they embark on a yet another journey.