BALLET MANILA TAKES FLIGHT WITH IBONG ADARNA (originally published in Theaterfansmanila)

Abigail Oliveiro as Ibong Adarna

Originally Published in THEATERFANSMANILA.COM CLICK THE LINK 
with edits including additional photographs from my collection 

Ballet Manila started this year with a very specific vision for the company. They resolved to move forward with a refreshed take on the classics, and create new ballets that will continue to tell stories that need to be remembered by the Filipino audiences.

As Ballet Manila boldly stated during their press con in the beginning of the year, they want to expand their wings with this season aptly called “Flights of Fantasy”. Taking it quite literally, their line up includes the contrast of avian nature in the classic Swan Lake and their recently concluded ballet, Ibong Adarna. However, more than the obvious reference to bird wings, I believe that through their first production, they also gave other things wings to fly. They are giving Philippine literature a chance to reconnect with audiences. It was also a rebirth of a dancer.

Gerardo Francisco, currently Principal Dancer and resident choreographer of the Company was given the daunting task of retelling Ibong Adarna independently taking charge of pretty much everything. Such a big opportunity to create with freedom is a rare one. Thankfully, the ballet’s first weekend of shows are perfect examples of defining moments born out of saying yes to opportunities. Francisco’s first flight was light and easy.

Ibong Adarna is a colorful story about a King who falls ill because of a premonition of betrayal. With Healers unable to help him improve his health, the queen was told of the mythical bird who could bring peace, tranquility and healing to those who have heard her melodies. She quickly sends out her sons Don Pedro, Don Diego, and Don Juan one at time in pursuit of the bird. After a series of tests on bravery, kindness, and sincerity, the true hero is revealed.

Ibong Adarna Reimagined

Gerardo Francisco’s staging of the ballet was quite different as he did not directly copy from a particular ethnic or rural community. Instead, he opted to create his own wonderland and used reimagined elements to paint the picture of the Filipino myth.  His assigned movements and characterization was easily relatable. Makisig, malakas, and matapang men filled the stage reflecting the Filipino archetype of warriors. His women, in contrast, were purposefully graceful but equally strong in stride. Noticeably, he has given a contemporary feel to folk dance.

Sets and costumes made by Make It Happen Workshop had an earthy feel with the use of natural materials such as bamboo, walis, banig, and pattern accents. Even the Ibong Adarna did not look like the usual rainbow-hued bird with long tail feathers. Instead, she was dressed completely in gold– keeping colors restricted to her make up. Supporting his vision is the all-original musical composition of Diwa De Leon, whose music was a good fit. Generally, the old elements were revamped keeping only the essential ideas intact.

                  

 

Picturesque Movement

The power of this ballet lies in its choreography. Francisco successfully weaved  patterns, created levels, and crafted sequences that were visually exciting. He has a penchant for rhythmical, electrically-charged dances which all typically require precision and presence of mind to be executed well. This is consistent in all the sections throughout the ballet. The ballet’s best moments were the wonderfully-shaped laudable unisons and ensemble work.

Within minutes of the show, it was quickly established that the ensemble would not take a back seat in this production. The opening number of boys and girls was energetic and polished. The first unison introduced the capacity of the dancers. Both the soloists and the crowd had their moment to shine. The amazon women also collectively displayed a powerful tour de force delivered with a singular breath. 

Slow Pace 

Storytelling transitions were often dealt with the curtains falling down unnecessarily to show the characters doing simple steps or even just running around. It was heavily anticlimactic to see it done over and over again.  Having Don Juan (played by Rudy De Dios) literally run from stage left to the second floor, and then to the stage via the audience entrance was quite disturbing.

There were also a few scenes or characters included to add humor that muddled the story. The sudden emergence of monkeys and fireflies that were pretty much Disney formula were underdeveloped.

Katherine Barkman as Queen Alitaptap

Magic of Storytelling

Noteworthy was the performance of the lead characters. Mark Sumaylo as Don Pedro with his princely swagger delivered wonderfully executed leaps. He stayed suspended in the air creating lines that were wonderfully picturesque. Romeo Peralta who played Don Diego had just the right touch of arrogance. His bastardly approach nicely differentiated him from the two brothers. Ever so consistent, Ballet Manila’s Principal dancer, Rudy De Dios as Don Juan, displayed refined technique and artistry.  This allowed him to navigate the story and command the audience to root for him.

Mark Sumaylo as Don Pedro

Romeo Peralta as Don Diego

Rudy de Dios as Don Juan

The Flight
Of course, no one can forget the two ladies who performed as Ibong Adarna. Abigail Oliveiro gracefully ascended from the skies. Striking a lovely contrast with the earthy grounded humans, she had the gracefulness of a swan and the passion of a firebird. With her elongated, sustained lines she convinced me that she was indeed a mythical bird that could make miracles with her movements. The role was shared by Gia Macuja Atchison who lent her melodious pitch perfect voice to accentuate the power of Ibong Adarna. In perfect harmony she likewise performed with the same tempered  grace and poise. Embraced with just a gentle spotlight, she still managed to capture the full attention of the audience. Her presence was always enough.

Abigail Oliveiro as Ibong Adarna

Gia Macuja Atchison as Ibong Adarna

Overall, the Ibong Adarna took flight and soared high without hesitation. Francisco’s first effort at a ballet was rich in flavor and abundant in talent. Led by Gerardo Francisco, Ballet Manila was rewarded with thunderous appreciative applause. It is beginnings like this that affirm that singular opportunities seized fervently can amount to more.

Run: August 26-27, 2017 and Septemer 2-3, 2017

Aliw Theater 

Ballet Manila 

Ballet Manila's Gerardo Francisco in Transition

A dancer transitioning to become a choreographer (or dancer/choreographer) is an organic progression. With the wealth of experience one gains as a dancer, you are able to increase your vocabulary. With more technique, you become more able to assist the dancers in moving the way you want them to move. With more performances under your belt, you have a better idea of how to rehearse and mount shows. However, creativity and depth while it can be influenced by exposure is not necessarily easy to achieve. It is because of this that the dancer usually steps into the role of the choreographer when he is ready to leave the stage to concentrate on his or her concept. This is the norm but it is not absolute. Gerardo Francisco, Principal Dancer of Ballet Manila joins the likes of Marcelo Gomes of American Ballet Theatre, Justin Peck of New York City Ballet and Erl Sorilla of Ballet Philippines. Still very much at his prime, he has decided to accept the challenge of being both a serious dancer and a serious choreographer at the same time. He has decided to be a maverick of sorts as he tries to achieve more in both paths.

Gerardo Francisco Photo Courtesy of Ballet Manila

Francisco has been creating pieces for Ballet Manila as early as 2003 when they allowed him to represent the company in the 2003 Asia Pacific Ballet Competition with his piece "Hunting". After this, it was as if the universe was telling him to continue this path. He had a string of good fortune with non stop recognition for pieces that he created. For two consecutive years, contemporary solos he created for Ballet Manila competitors won best choreography in the NAMCYA ballet competitions ("Bulag, Pipi at Bingi" in 2008 and "Hilas" in 2009). In 2009 his piece "OFW" won best choreography during the WIFI Body Competition. The same piece was also showcased in the 2016 Shanghai Contemporary Dance Festival in Shanghai, China. Later on he also won Bronze medal in Andong Mask Festival for "Morions" in 2011. While awards are always shiny things that remain in people's minds, I find that the true test is when the pieces remain in the people's hearts. Personally I generally see a lot of heart and energy ingrained in his movement and that I believe that is what made people want to see more of his creations. His works tend to be punctuated with moving beats, sobering patterns and rythmic repetitions. I rarely see subtleties in his work instead he favors strong and dramatic extended movements. I feel that his progression is helping him inch closer to  making his own brand of movement.   It is no wonder why Ballet Manila has been steadfast in their support of his craft. The continuity of his exploration has truly allowed him to mature into the role of a designer of movement. He has moved on to deeper themes, and grander projections of his ideas. No longer constraint with expressing himself with a just a few minutes of music, he has been given more freedom to explore.

Abigail Oliveiro as Ibong Adarna

This year, Francisco  was given his  biggest challenge to date. He was given free reign to create Ballet Manila's "Ibong Adarna" a full length ballet credited to his name. Key words being full length and ballet. With full creative control, he re-imagined the famous  Filipino  story of the mythical bird. When asked how he prepared for this gargantuan task, he calmly explained his process. Ibong Adarna was just an idea that he pitched to Ms. Lisa Macuja. When she accepted and supported the idea, he was overwhelmed with excitement so much so that  inspiration came easy. He fondly recalled how he started to envision the ballet.  He was influenced by "Aguila" that was created for him by Ms. Agnes Locsin. He also reconnected with "Corvus" (crows) which he created for not too long ago. Lastly, he studied the magic of Swan Lake. Studying the three different approaches to the bird, he thinks he has created something distinctly Filipino that people can relate to. Ibong Adarna will be premiered this August 26, 2017 at the Aliw Theatre. Everyone will be thinking of him as the curtains rise. Truly, this is his chance to elevate himself into the big leagues. It is somewhat a test of ability to capture an entire audience for more than an hour. However the outcome, what is more important is that he  continues to create and cultivate. If it's a hit then well and good if not, I am certain he is well on his way to the coveted corner of choreographers. As an advocate of original Filipino creations, I choose to think he will succeed in this task. Why don't we all see each other at the theater and see what this young, award winning choreographer has come up with?! See you at the theater?!

Ibong Adarna goes onstage at the Aliw Theater in Pasay City on : 

August 26 and September 2, 2017 6:00p.m.

August 27 and September 3, 2017 3:00 p.m.

Tickets are available at all Ticketworld outlets, online at www.ticketworld.com.ph, or call 891 9999.