Revelations :Hong Kong Ballet's Season Finale

It has been months since Hong Kong Ballet closed their 2014 season. I delayed this post because of a personal promise I made to a friend. I contemplated not writing it altogether. However, the show was so potent that I couldn't set aside the imagery and the emotion that I took home that night at the theater. 

I have grown fond of Hong Kong Ballet's mixed bill productions because there is always something unique to be seen. It's never a replica or a substandard copy of a previous production. The point of view of every mixed bill production is always loud and clear. This particular mixed bill for me is special in a different way. I feel that on that stage, several artists shared pivotal moments in their lives. Shakespeare said it best when he said " All the world is a stage, and all the men and women merely players: they have their exits and their entrances; and one man in his time plays many parts, his acts being seven ages."  I know the quote was meant to describe the intricacies of universal life. However, it is ironically describes what the artists shared with the audience in that show. 

Let me explain. There were several revelations that night.  For one, I knew that Jurgita Dronina was to dance Paquita. What I didn't know was that she was to join the Company as the newest Guest Principal Dancer.  One of the reasons I flew to Hong Kong was to see her dance again. She made quite an impact a few years back when she performed in Ballet Manila's World Stars of Ballet Gala. I  had no idea that she was going to take on the role of Guest Principal Dancer. For the longest time, it had only been Yuan Yuan Tan who was the proclaimed Guest Principal Artist. She would occasionally  take part in at least one of the season productions. Upon seeing that title in the program and several mini articles about her in the internet, my mind started spinning. Was she going to visit Hong Kong more often now? Will Hong Kong Ballet be a second home to her? I was excited to say the least about the possibilities.  The season finale I  watched was her first show (to my recollection) with Hong Kong Ballet. She took on the role of the ballerina in Paquita. There were a few slips that happened that night but none big enough that could diminish the sparkling beauty of this lady. Her extensions were  picturesque. Her fouette tricks were impressive. Her elegance is comparable to that of Margot Fonteyn and Audrey Hepburn.Finally her energy was engaging. All that being said, she is a trophy addition to the Company. It was her first entrance  to Hong Kong's spotlight, one that was met with thunderous applause. To me it was a historical moment.  I can't wait to see more of her in the coming seasons. 

Photo: Kitmin Lee 

That is not all that took me by surprise that night. Another dancer was  at a turning point in her career and on that stage she made her final statement. I was able to follow Candice Adea's progression in Hong Kong Ballet. She has been a friend to me for years and I have always loved supporting her triumphs with the Company. Indeed she has been a pride and joy for the Filipino dance community. I saw her first production with the Company and was fortunate enough to see her last. You see, after  an illustrious  two year stint with the Company, she bids them goodbye to join Ballet Met.  I would have loved to see her end her affiliation with the Company with a more principal role. But I have to admit, she was a feisty charmer in Alexei Ratmansky's Carnivale. She exits with a  lasting impression.  She is one of the smallest dancers with the biggest movements  on stage. She took on the role of lead hen. In the mix of animals, her sprightliness and clarity of movement was too cute to forget. I'm sad to see her leave for a farther destination but I am excited to see her add another feather on her cap. Bon Voyage Candice Adea, until we meet again. 

Dancers: Candice Adea, Naomi Yuzawa, Yuri Moriwaki
Photo: Conrad Dy-Liacco

                                     

So you see so many personal stories marked by performances on stage. My favorite would have to be the biggest revelation of them all.  I have seen Hong Kong Ballet succeed  in dancing pieces by world renowned choreographers. In the same production, they succeeded in giving life to Alexei Ratmansky's entertaining Carnivale. However, seeing the world premier of "Bolero" left me at an unparalleled state of awe and admiration. Yuh  Egami  and Ricky Hu are both active dancers of the Company.  I had no idea that the the choreographers who would succeed in  creating a work that is distinctly perfect for the Company would be one of their own. "Bolero" is a a piece about  the ascent of depression of a modern woman. It aimed to humanize  how one could possibly lose your mind with the number of voices  you hear in your solitude. The theme was quite bold but the presentation of the concept even bolder. Principal dancer Liu Yu-Yao was found fragile inside  a white architectural set  framing her. Liu Yu-Yao put just the right amount of madness and lucidity in her portrayal.  The set  that initially caged her like a  mental institution  soon  evolved into a more personal space, a window, a door, a table, a chair  that featured the ballerina's  frame of thought.  The set had its own choreographed transitions that were so purposeful and effective in highlighting moments.  The characters representing the voices in her head  weaved in and out with the set as their playground. The piece was so intense not only because of the powerful dancers but because it was clearly a well thought of. The two choreographers were indeed  god storytellers. Not only do they have impeccable taste and a good grasp of dance vocabulary, they also have a commitment to innovation. Bolero just proved that Hong Kong Ballet now has double threat artists on their side. I do hope I get to see more of the duo's genius. 

Dancers: The Hong Kong Ballet Dancers
Photo: Kitmin Lee

Dancer: Liu Yu-yao
Photo: Kitmin Lee

Dancer: Liu Yu-yao, Shen Jie, Leung Chung Long
Photo: Conrad Dy-Liacco

The season finale was eventful with someone new arriving, someone old exiting, and two people's careers evolving. In summary, it was a closing that would make anyone excited about the new season. Bravo. 

For those who are interested, Check out the link of Bolero and Carnivale (With Candice Adea dancing in it)

https://www.youtube.com/watch?v=oaEP6R59zTk  (Bolero)

https://www.youtube.com/watch?v=Hva_ztzgSCU (Carnivale)

Starstruck and Stuck : Yuan Yuan Tan

Years of being a dancer has I guess softened my heart. I hesitate before I throw a criticism because I know how hard it it to rehearse for a piece. Corns, callouses, bruises and injuries have made me a more appreciative member of the audience. But as the years of experience  on stage have taught me a thing or two, so have the audience chairs.   I am a balletomane and a self-confessed theatre buff. I've scampered around for as much tickets I could get my hands on. Having seen so much, hardly do I go home with my mind  blown. Though I do admire many dancers out there, I hardly get starstruck to the point of speechlessness.   I don't really ask for autographs. The only cherished autographed item in my house is my artist pass signed by Ms. Maniya Barredo. But Yuan Yuan Tan's performance in Ballet Soiree was just so good, it turned both me and my husband into giddy children waiting for the star of the show to come out. Luckily she did!!!!!! Thank the stars for a beautiful momento. So here I am thoroughly star struck. I guess all those years of dancing never did train me to be the pefect FAN!

Dancing with the Stars: Hongkong Ballet

Every time I plan a  visit to  Hong Kong, I check the theatre schedules for ballet or broadway shows.  A few years ago, I had the pleasure of watching Yuan Yuan Tan dance with Hong Kong Ballet in "Jewels". Unfortunately, that was the only thing that she danced that night because she alternated with another guest artist for the role of Odette in Swan Lake.  But what I saw then was enough to capture my interest. I did not know much about her then but that single performance made me check the internet for  You tube videos or dance magazine features. She stood out , looking ravishing in  her ruby red costume. Her extensions were comfortably perfect. A good mix of energy and gracefulness made here sparkle and stand out from the rest. Everybody (even the other principals) looked bland beside her.   I vowed to watch her again.

For my birthday, I decided  I wanted to go to Hong Kong to watch Yuan Yuan Tan perform again with Hong Kong  Ballet. Quite an expensive birthday gift to myself, but my husband seemed to think I was worth it :) So off we went to Hong kong and bought tickets . Excited and eager to be wowed, we practically sprinted to the theatre. "Ballet Soiree" started off really weak with  Hong Kong City Ballet's men . Castrati,  a seemingly interesting choreography was not glorified. Soloist Shen Jie and three other soloists showed versatility and strength. Shen Jie in particular was interesting to watch. I have no doubt he will be one of the Company's stars. However, the ensemble looked like they lacked rehearsals. Musicality was often compromised. Seeing Youtube videos of Castrati made it worse as the male dancers of Royal Swedish Ballet were very very precise.  Thank goodness the show quickly redeemed  itself by the entrance of Yuan Yuan Tan . She performed Lady of the Camelias with Guest Artist Vito Mazzeo. I saw a different Yuan Yuan tan, a true chameleon she was. She was sensitive in her portrayal. Her technique was impeccable. Her arabesques made me gasp in admiration. Her movements were stringed together with her grace, with every movement  dripping with emotion. It was amazing to feel her energy from the audience. Vito Mazzeo, ably partnered her and embodied just the right amount of charm and testosterone . Their partnering was absolutely seamless. I was beyond impressed. After the pas de deux, it was time for Hong Kong City Ballet's girls to show their stuff. They did not disappoint. A beautiful choreography called "Dancing with the Wind" by Li Jun showcased  the capabilities of the women. The choreography had a strong concept, the chinese aesthetic. It was a delight to see simple elements of  light and dance on stage make magic. I will not forget the dreamy quality of this piece. It was a breath of fresh air.   This performance was followed by another Pas De Deux by Yuan Yuan Tan and Vito Mazzeo. This time it was short but still most definitely sweet. Pas De Deux from Symphonic Dances was all about technical lifts and an exhibition of flexibility of both dancers. The duo delivered, keeping the audience wanting for more. Christian Spuck's  Le Grande Pas De Deux performed by Liu Yu-Yao and Zhang Yao followed. It was what it promised to be, a comical parody. It was for the lack of words to describe it, cute. Both dancers committed to the characters and performed the classical requirements  with ease.  Last on the repertoire was Theme and Variations , choreography by George Balanchine.  Ji Yao played the principal role. She performed the very difficult ballet with a comfortable smile. She  was no Yuan Yuan Tan but she did consistently deliver. The curtain fell and I found myself  clapping  with enthusiasm. 

Hong Kong City Ballet for me has grown so much. I used to think they were good but bland. This time, they re-introduced themselves to me and made me a certified fan. However, having seen  the difference between San Francisco Ballet's A team, they do have a long way to go before they reach their fullest potential.  Yuan Yuan Tan's performance really showed what  they should aspire to be, beautiful, strong and exciting. I had my fill that night. The show was worthy of my applause. Their growth was worthy of my admiration. More importantly, their star was worthy of my ADORATION . A beautiful way to say goodbye to Hong Kong. I left thoroughly impressed and happy having seen such beautiful art. I look forward to coming back to see  Hong kong Ballet's next great leap to greatness. Can't wait to see my friend  Candice Adea shine with the stars.