Ballet Philippines' "The Nutcracker", A Tribute to the Filipino

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

Quintessence, Ballet Philippines' A Gala Celebration

Ballet Philippines opened their season with quite an unremarkable show called "Your Highness"  at the Little Theater.  It was hardly a production  that would   mark the entrance of National Artist for Dance Ms. Alice Reyes as the new artistic director of the Company. "A Gala Celebration" which quickly followed was what fully reflected the changing of the guard. Last August 18, 2017, devoid of any frills Ms. Alice Reyes was officially introduced to the audience as the new leadership. A spotlight hovered over the filled up seats and  she stood up in the middle of the crowd nonchalantly. With a gentle smile and glassy eyes she went on to address the crowd with a speech that was certainly unexpected. As a founder of the Company I somehow expected her words  to be along the lines of tribute to the glory days, direction for the future  or this is Ballet Philippines now.  After all it is with much anticipation that people waited for her hands to once again  touch the company she built. In contrast, she went another way.  She chose to make her first public move a step towards gratitude.  Without further adieu she individually introduced the people sitting in her row. She acknowledged the work  of all other artistic directors  who have contributed  to the survival of Ballet Philippines. She highlighted that the show that we were about to see was a product of continuity and resilience. Her graciousness was heart warming and endearing. It was the that perfect touch that set the mood of excitement not only for the show but for Ballet Philippines' 48th Season labeled perfectly as QUINTESSENCE.  

Neo Classical Gems 

The mixed bill showed a wide range of genres from classical ballet, neo classical and modern pieces. The curtains rose to Ms. Reyes' "Bungkos Suite", a delightfully light  pursuit to give life to Filipino folk music. Just as it has in the past, the quick and easy ballet done on barefoot  played with the usual temperament of the Filipino, naughty and playful.There's  peculiar charm brought about the familiarity to the songs.   This was one of they lighter pieces of the evening. 

Former Artistic Director Bam Damian's " Minamahal, Sinasamba" is  also a tribute to original Filipino music. In contrast it played more on athleticism instead of dainty gracefulness. It dealt with different vignettes of love.  The piece is largely based on a vocabulary of highly technical partnering. Unexpected exciting lifts, turns and quick solos showed off the inspiring bravery of the young bloods performing the piece. The girls took on the tours and the men caught  them in mid air.   Tour je tes  that end in fish dives, classical finger turns  that go from pointe to fondue (bent knee on pointe)  were good twists  to the conventions of ballet. Gasps from the audience could be heard in regular intervals in appreciation for the the dramatics that occurred on stage. 

PHOTO BY JUSTIN BELLA ALONTE 

                           

Norman Walker's  "Summer's End" is one of the classics I have not seen  before. Without any tinge of expectation I loved the serenity of the piece.  Chopin's music was translated into an unpretentious romance. Real life lovers and principal dancers JM Cordero and Rita Winder impressed me with their flawless partnering. The choreography itself is beautiful but there is a noticeable tranquility as they executed partnered extensions. Their sequences seemed to always end up with a luxurious embrace and the fluidity was soothing to the eyes. More than their solid technique it was their openness to tell a story that was a refreshing. Both dancers who were set to leave right after the performances to their new career destination seemed committed to making their last performance something to be remembered. The end of a romance , the end of a journey was anything but bittersweet.

The Classics

Ballet Philippines made sure they included the classics. Victor Maguad and Jemima Reyes starred in the highly technical Grand Pas Classique. Maguad displayed his usual flexibility and Reyes gave her all to her difficult fouettes and turn combinations. Everything was good but this ballet to me is very static with no highs and lows. My appreciation is limited to how good the dancers are.  

Raymonda was more entertaining. Guest Principal Candice Adea led the pack with her movement imbued with  rich elan. Every bit the performer, she marked her steps soulfully. Despite her dreary mustard costume  she still came out  as the bejeweled star of Raymonda. There is much maturity in how she articulates her body and her emotions. Guest Artist Marcelino Libao who partnered her enjoyed his moments on stage .His commitment to style makes him unique. 

Modern Greats 

Krisbelle Mamangun gave life to Agnes Locsin's epic "Salome" This piece that has gained international recognition in the past still comes out strong after all these years. Deeply rooted to emotion a very mature dancer mesmerized me with her impeccable strength and control. Memorable is her slow as death hinge that leads to the floor.I loved how she rose from her split so effortlessly.  Her emotion is internal but visible in eyes. Mamangun is still very much a seasoned dancer. This piece and this dancer is always in my must watch list. 

Vision of fire is an acquired taste just because its pace  may not fit the "So You Think You Can Dance" progression. But my patience was rewarded because it projected a visual so strong  that it allowed me to have a few moments of escape. The movements were quite simple and the dancers had to hold poses for long periods of time while being lighted with rustic colors.  They eventually gather together and  create movements that resemble flickers of fire. Bodies jump like sparks until the whole stage is ablaze with engulfing power.  The flames go stronger and higher. The  repetitive steps, kicks and jumps all of a sudden look like a soothing fireplace rather than a crackling burning fire. The piece was so so engaging that it left me in awe.   I was in awe of the stamina of the cast.  I was  also very surprised to be stirred by such a ballet. It seemed abstract but the light to me was symbolic of hope. I try not to read souvenir programs prior to shows because I don't want to be influenced about the meanings of pieces. I actually didn't see what was written in the program but I stumbled on a telling post about Vision of Fire. Choreographer of the piece Edna Vida declared in a Facebook post that the meaning of her piece has  changed over time. It has gone from  a vague visual concept  to something quite personal and spiritual to her. "My piece is about finding God again! In these times of pronounced evil people are sensing Him in a collective spiritual renewal."I saw this after the show. While what I saw was hope instead of God, I did feel the same rejuvenation. It's a gift when a piece cloths audiences with feelings. I am grateful to have had that experience. 

Alin Alin Alin ang Naiba 

Included in the program are two pieces that do not belong to the Ballet Philippines repertoire archives. Filipino guest artist Marcelino Libao (Hamburg Ballet) brought to Manila John Neumeiers's "Spring and Fall". I feel lucky that this piece was shared to the audience just because it has a lot of history. The solo is actually in tribute of the famous dancer Nijinsky. This solo has generous amount of sweeping circular motions that portray euphoria. Libao was at his best in this piece as he has evidently acquired and embraced Neumeier's style. His massive range of movement to me looks like unadulterated freedom which is soothing to the eyes. 

Equanimity choreographed by Paul Ocampo and Wife Chien Ying is also not part of Ballet Philippines' history. The quirky duet performed by the choreographers themselves  that deals with the intricacies of marriage was cute. The pedestrian movement that alternated  with organic transfers of weight was interesting. Both dancers being senior artists their story telling showing nuances that added texture. 

Lastly there was Kun Yang Lin's dramatic "Moon" . Choreographically speaking, the piece capitalized on stillness. A combination of oriental flavor and western contemporary vocabulary, Moon  delivered an enigmatic dancer.  Victor Maguad sustained shapes gliding through the floor with promenades. In certain points he also  fluidly created shapes  with this ballet using his white skirt. Thoroughly enjoyable because of uniqueness, Moon was a huge success. 

Cohesiveness 

 "A Gala Celebration" shows a lot of merit. The restaging of all the pieces were on point. While the sets were deliberately  minimal, light compensated and beautifully framed the movement. There is much to celebrate.  It was  a good display of how rich the company is. My only issue was that of cohesiveness. At first the show was packaged to be a tribute to dancer  diaspora. Then it was a tribute to repertoire. However, there were pieces that were not created specifically for Ballet Philippines nor were they part of their history. Dancers who were leaving  and or celebrated surprisingly  had minimal parts.  There were featured  dancers who were also not a significant part of the Ballet Philippines journey. Collectively it did not leave a definite message  about what that show was really about. It did not quite deliver what it promised.  Much like a sentence without a period, it leaves you questioning the intentions. To me, it was simply a regular mixed bill performance. Nonetheless, I did enjoy its entertainment value.Diversity and strength are an artist's best friends and they were right there on stage  guiding the company's every move. This brings forward the reality of their season mantra quintessence.  I can see the effort of the dancers to please no less than the National Artist for Dance and the founder of their Company Ms. Alice Reyes.  Bravo Ballet Philippines. I can't wait to see the direction they will take as they  step nearer to the golden era. 

A few of my favorite moments from the show