PBT Continues to Make Legends Come Alive

The Philippine Ballet Theatre will have its world premiere of "Sarimanok" on July 6, 2024 at the Samsung Performing Arts Theatre. The ballet, which draws inspiration from the legendary bird of Philippine folklore, will showcase Ronilo Jaynario's brand of neoclassical choreography accompanied by the emotive music of renowned composer Paulo Zarate. This collaboration follows the success of their previous production, "Ibalon," the Bicolano Epic, which premiered in 2023. The production is a testament to the collaborative spirit of this team up. Jaynario expresses, "Ibalon made a strong impact on both the audience and the performers, receiving rave reviews and praise that any dance company would aspire to. So, the challenge is to achieve the same for 'Sarimanok.'"

                   

PBT President Marilou Magsaysay emphasizes that PBT will continue to pursue its vision. She firmly states, "We continue to create innovative performances that fuse classical technique, regional interpretation, and experimental forms, aiming to deliver a ballet experience that is uniquely Philippine Ballet Theatre." The company is dedicated to immortalizing our heritage through ballets that will be appreciated by generations of audiences.

Highlights of the Ballet

This ballet is actually a love story but it is more than that. A few highlights from the ballet include dances that bring contemporary relevance to cultural motifs. The legend of Sarimanok belongs to the vibrant Maranao culture. This ballet includes pieces that reimagine the Singkil, the Malong, and the Aper dances, which highlight our ethnic pride. The Singkil, often regarded as a quintessential Filipino dance, showcases the grace and composure of Filipinos in every situation. The Malong dance symbolizes versatility and functionality, while the Aper, a stately dance, represents pride and good upbringing. The Sarimanok, of course, symbolizes hope and providence. The inclusion of these pieces in the ballet is meant to remind audiences that these qualities are integral to our Filipino identity and should be embraced. Jaynario seizes the opportunity by magnifying his reimaginations of the dances, thrilling audiences with technically sophisticated ballet steps infused into the traditional pieces.

                     

                      

                       

Modern Orchestration

Zarate's score in this ballet captures the temperament of the Filipino. Each track not only mirrors our traditional music but also encapsulates the essence of our national spirit. Notable musical pieces in this ballet include a celebratory fiesta track, a bayanihan track, a romantic pas de deux track, and, of course, a Sarimanok track that evokes the energy of our Filipino festivals.

A Stellar Ensemble of Artists

                         

The ballet features a talented cast of artists who bring their exceptional talents and unique interpretations to this captivating story. Jessa Tangalin and Gladys Baybayan will share the role of the mythical Sarimanok. Alternating as the romantic couple of Indarapatra and the Moon Goddess will be Matthew Davo and Gabrielle Jaynario, and Jimmy Lumba and Joni Galeste. Lastly, Dom Delmo and Justin Orande will perform the role of Sulayman.

With Sarimanok being the second full-length Filipino ballet in a row, PBT hopes to send a strong message that their commitment to creating a national influence through their art is vibrant.

Sarimanok will be showing at the Samsung Performing Arts Theater on July 6 and 7. Tickets can be purchased through Ticketworld or reserved now through Philippine Ballet Theatre by emailing secretariat@pbt.org.ph or messaging 09688708887.

Dancers' Point of View

                      

How do you feel about the role that was entrusted to you?

ELOISA JESSA TANGALIN

Sarimanok

"Sarimanok is a vibrant display of Filipino culture and storytelling, fueled by dynamic choreography set to an empowering musical score. And being given such an important role is quite the challenge, but I feel very determined to do justice to the character and the entirety of the ballet."

GLADYS BAYBAYAN

Sarimanok

"Sarimanok is my first leading role with PBT, so there's a lot of extra pressure. I want to bring to life Teacher Ron's unique choreography and Sir Paulo's captivating music. So the experience for me was both really fun and challenging. In the process, I have to focus on perfecting the steps, turns, and especially the lifts, which push me out of my comfort zone. At the same time, I have to consider how to portray Sarimanok, who is not human. I'm pushing myself to hone my artistry and show the character of a mythical bird. But even with all these challenges, I enjoyed the process of becoming 'Sarimanok'."

                                                                          

JIMMY LUMBA

RAJAH INDARAPATRA

"As an artist, I believe it is our sacred duty to safeguard our history, traditions, and stories. In this time when our younger generation is less interested and seems to overlook the significance of stories like Sarimanok, we at PBT are dedicated and committed to honoring and preserving these narratives. Because these stories are not only part of our heritage, they are the very essence of our identity. It feels good to be able to take part in such an important advocacy."

MATTHEW DAVO

RAJAH INDARAPATRA

Dancing the role of Rajah Indarapatra has given me insight into the various lifestyles and customs in Maranao culture. What makes Sarimanok so interesting is that the music and choreography are designed to showcase Maranao props, movements, and beats but still have a hint of ballet. Through this role, I've learned that true love triumphs all, including familial love, love of duty, and love for the country.

GABBIE JAYNARIO

Moon Goddess"I am deeply honored to portray a role that holds significant importance in the ballet's plot. Dancing a captivating choreography that makes you feel as if you are floating above the clouds is a once-in-a-lifetime artistic satisfaction. Through the privilege of dance, I hope to bring the same satisfaction to the audience. I am thrilled for this role and grateful to be part of a production that proudly showcases Filipino culture and tradition."

What is the symbolic meaning of the Sarimanok?

GABBY JAYNARIO

Moon Goddess

The word Sarimanok can be divided into two parts: "Sari" meaning colorful garments, and "Manok" meaning chicken. A colorful chicken symbolizes good fortune and prosperity. I believe that our culture is adorned with various symbols and cultural icons, like the Sarimanok, to reflect our Filipino values of gratitude and thankfulness. We believe that when good things come our way, it is a blessing from the heavens. And when we receive blessings, we offer them back up to the sky. Just like in the ballet, the Sarimanok is a vessel through which the Moon Goddess blesses the Prince, lifting him up to the heavens as they celebrate their love.

Ron Jaynario

Artistic Director

Sarimanok is the act of being awakened by the rooster in the morning and receiving colorful blessings from above.

3. What lessons can be learned from the Sarimanok Story?

JIMMY LUMBA

Rajah Indarapatra

It may sound cliché, but it is true - pursuing happiness often requires sacrifices. Rajah Indarapatra's love for the Moon Goddess and his decision to leave behind everything he knew, including his kingdom and family, in order to be with her is both heart-wrenching and inspiring. It makes me reflect on the courage it takes to step into the unknown, leaving behind the comfort of familiarity while facing an uncertain future. The idea of not knowing what lies ahead, but holding onto hope that everything will ultimately be alright, serves as a powerful reminder of the complexities involved in the pursuit of true happiness.

                          

International Star Martin Buczko and Veronica Atienza in PBT's Merry Widow

This performance marks the debut of Veronica Atienza in her first Principal role. She is partnered by international artist Martin Buczko who is both an dancer and a choreographer from Staatsballett Berlin.

Cast :

Count Danilo Danilovitsch (Pontevedrian Diplomat) : Martin Buczko

Hanna Glawari (wealthy Pontevedrian widow): Veronica Atienza

Baron Mirko Zeta (Pontevedrian Ambassador to France) : Anatoli Panasiukov

Valencienne (Baron Zeta's Wife): Regine Magbitang 

Camille Rosillion : Peter San Juan  

Njegus : Joel Matias

This performance marks the debut of Veronica Atienza in her first Principal role. She is partnered by international artist Martin Buczko who is both an dancer and a choreographer from Staatsballett Berlin.

Documenting Philippine Ballet Theatre's Newest Ballet: Merry Widow

Merry Widow  is a ballet  adaptation of a romantic opera created to match the music of  Franz Lehar. The original ballet was presented by the Australian Ballet in 1975 using the choreography of Ronald Hynd.   Inspired by his version of the  ballet, Artistic Director and resident choreographer Ronilo Jaynario decided to recreate the ballet for the Philippine audience. He re-imagined the story telling and injected a more contemporary spin to the ballet vocabulary.  While the original version in its original form already had a lot of entertainment value, he thought it best to put more mixy mischief into each of the scenes. 

Act 1 Anteroom in the Pontevedrian Embassy 

Act one begins with glaring theatrics establishing the characters. In the Pontevedrian Embassy the Baron Zeta,  Valencienne, Count Camille and Njegus  are in panic looking at the dwindling  amount of money for their city. Pontevedra is bankrupt. The group schemes and decides that a viable solution would be to match rich widow Hanna Glawari with Count Danilo so that money can be kept within the City. With much comical vulgarity Count Danilo enters and entertains with his drunken state. They cringe at the possibility  of disaster as they see the Count in a condition not fit to woe anybody. 

This scene closes with a glimpse of infidelity Camille and Valencienne  tease the audience with a quick pas de deux. It ends with  Njegus shocked when he sees a bit of the illicit affair and warns them of the repercussions.  

Act 1 Scene 2 The Ballroom in the Pontevedrian Embassy

The stage reveals a grand ballroom with guests. The Baron and Valencienne await the arrival of the merry widow.  She glamorously walks down the grand staircase and is quickly introduced to the elite males in the ball. She soon finds a familiar face. Count Danilo, her former lover who left her in tears was right in front of her. 










A flashback follows. Count Danilo recounts how he left his loved ones to follow  his family's wishes. Hanna was not in the same social class as him and therefore was not fit to be the wife of a future count. Hanna hasn't quite forgiven Count Danilo and jabs at him by choosing other gentlemen to dance the night away. Angered the Count does the same and a petty battle of jealousy begins. 

 

Act 2 The garden of Hanna's Villa the next evening

The following night Hanna gives a party in her villa. With traditional Pontevedrian clothing they engage in traditional dances. Hanna and Count Danilo are confronted with their history and begin to rekindle their old flame. 

Meanwhile, Camille and Valencienne no longer able to control their feelings for each other  spend intimate time in Hanna's pavilion. Njegus sees their passionate display. He also sees Count Danilo and Baron Zeta on their way to the pavilion . In his desperation he tells Hannah the situation and she indulges in his plan to conceal  the problem.  Hannah swiftly switches with Valencienne. When the Baron finally gets Njegus to open the door, Hannah is revealed.  Surprised Count Danilo is told that Camille and Hannah were newly engaged.  Confused and irritated the both the Count and Valencienne display quite a comical response to the madness. 

Act 3 Engagement Aftermath 

All the characters meet again in yet another social gathering.  Count Danilo threatens Camille and they engage in hilarious bickering sequences. The entertainment doesn't stop with them as the can can girls and the sophisticated waltzing women   bring some excitement for everyone. 

Eventually, Valencienne and Camille end up in each others arms. Soon enough they could no longer hide that  there is something between them. The sad truth is revealed and the Baron is heartbroken. He yields and forgives them.  Count Danilo finally understands the situation. Grateful that he still has another chance with the merry widow, he sweeps her off her feet and  professes her love. Jaynario ends the ballet with an imposing "They lived happily ever after,". 

Jaynario's approach  veers away from Merry Widow's old glamour feels but certainly retains the sophistication of the ballet. The narrative was clearly translated into movement. From the physicality of the theatrics to the artistry of the cast , the characterization was clear as day. The choreography glorifies the evident strength of his Company. Length and lavishness in the range of motion were the key elements that he played with. There were a lot of technical spectacles like fouettes dispatched with one hand on the voluminous skirt, pas de deux acrobatics, high impact extensions  etc. Of course not every scene is flawless there are redundancies within the ballet but it is certainly entertaining. It's nice to see  a show feature something other than what popular imagination on ballet is. A few refinements here and there and I reckon it will be one of those lasting  light productions  that people will look forward to seeing.

Cast :

Count Danilo Danilovitsch (Pontevedrian Diplomat) : Martin Buczko

Hanna Glawari (wealthy Pontevedrian widow): Kim Abrogena 

Baron Mirko Zeta (Pontevedrian Ambassador to France) : Anatoli Panasiukov

Valencienne (Baron Zeta's Wife): Lobreza Pimentel 

Camille Rosillion : Peter San Juan  

Njegus : Joel Matias