REVIEW: Ballet Manila's Reimagined ‘Le Corsaire’ Lets Principals Shine (Archive)

 

REVIEW: Ballet Manila's Reimagined ‘Le Corsaire’ Lets Principals Shine

 (Republished from Theaterfansmanila)

Excerpt: This Ballet Manila production, reimagined by Lisa Macuja Elizalde, is a resounding success, re-establishing the company as a strong contender in the classics.

Lisa Macuja Elizalde often uses the phrases, “from page to stage” or “from book to ballet.” These clever phrases adequately reflect what Ballet Manila is trying to do with its 2024 season. 

They opened with the story ballet Le Corsaire, loosely based on Lord Byron’s poem “The Corsaire,” which has inspired numerous ballet adaptations since its premiere in May 1858. While Joseph Mazilier created the original staging, Marius Petipa's revivals introduced new elements to the ballet. 166 years later, ballet companies are still coming up with new restagings of this ballet, simply because of its exciting plot that allows for a lot of artistic liberties. 

Ballet Manila was the first ballet company to stage Le Corsaire in Asia in 1998. Since then, they have faithfully staged the Russian version and libretto eight times, much to the delight of their loyal audience. But this year, Artistic Director Lisa Macuja Elizalde opted to present a reimagined ballet. 

Archaic Ballet 

Briefly, Le Corsaire follows Conrad, a pirate who falls in love with Medora, sold to a wealthy Pasha as a slave. He and his crew embark on a journey to rescue her, facing obstacles from villains Lankadem and Birbanto.

In all honesty, the story of Le Corsaire is the most archaic and sexist of all the story ballets. It’s a story that does not reflect the current times and depicts women in the worst light, perpetuating their objectification and commodification. The opening scene says it all: Lankadem (slave seller) presents his fleet of women and puts a price on each one. 

The ballet shows a narrative that women need to be saved over and over again, coupled with instances of violence and deceit. Everyone who has seen the ballet knows that the storyline appears irreparably flawed, but kudos to those who try to make it more appropriate for modern audiences. 

The Old and the New

After much thought and research, some of the changes that Lisa Macuja Elizalde implemented in this version were similar to earlier stagings of the ballet. Just like her version, there was no shipwreck prologue. The omission of this prologue leaves a void in understanding the nature of Conrad and Medora's relationship. Without it, the presence of pirates in a settled town remains puzzling, as pirates are typically nomadic. 

The characters of Gulnara and Medora are Pasha’s possessions but Pasha chose Medora over Gulnara to be his wife. In Ballet Manila’s newest version, Gulnara (who is seen in the first act as distraught at the thought of being sold to Pasha) falls in love with Pasha and tricks him into marrying her. While consistent with earlier versions, Gulnara's declaration of love seems improbable. It's hard to swallow that Gulnara–one of Pasha’s slaves–would shift so easily from a sad slave to a scheming lover. I found it difficult to believe Pasha could be deceived, especially considering the casting. It seemed improbable that he would mistake the petite Shaira Comeros for the statuesque Abigail Oliveiro on such a significant occasion as his wedding. The mere addition of a veil was all it took to persuade him.

In Ballet Manila’s new version, Act 1 was just filled with aesthetically pleasing scenes. Medora, played by Oliveiro, emerged from a beautiful balcony. Conrad, played by Mark Sumaylo, reached out to her and the couple looked like something from a fashion magazine. Oliveiro was dazzling with her white tutu glittering under the spotlight. Sumaylo looked every bit the lead. 

In this rendition, the iconic portrayal of Medora on a platform as a woman being sold, along with the Palestinian and Arabian dances, was omitted. I consider this a commendable decision. Instead, these were replaced by the odalisques, one of the most awaited segments of the ballet.

The climactic showdown between Birbanto and Conrad culminated in a riveting spectacle, punctuated by the thunderous echo of gunshots piercing the air. As Birbanto fell lifeless and Ali lay injured, the audience held their breath. The scene concluded poignantly as Medora and Conrad set sail into the sunset, accompanied by Ali and the remaining pirates.

The final fight scene between Birbanto and Conrad culminated with dramatic gunshots piercing the air. The audience held its breath as Birbanto fell lifeless and Ali lay injured. The scene concluded with Medora and Conrad setting sail into the sunset, accompanied by Ali and the remaining pirates.

The earlier versions of Le Corsaire end with a glorious visual of a shipwreck. This version follows this line of thought and ends it with a beautiful pas de deux showing Medora and Conrad conquering love against a backdrop of the sun setting. Although the pas de deux was particularly lovely, I couldn't shake off a sense of unease as the curtains fell. While audiences typically relish a satisfying conclusion, this one felt rather grim. The couple lost their friends (including Ali, historically Le Corsair’s poster boy) and all their treasures, leaving them without a home. Upon reflection, it becomes apparent that the story actually ends in tragedy.

Technical Demands 

The technical demands of this ballet were very high. With two principal pairs and six soloist roles, the inventory of difficult steps was like a full buffet of tricks. As an audience member appreciative of the skill required, I found myself fervently rooting for the dancers as they gracefully interpreted the music. Ballet Manila's Principals and Soloists executed their roles flawlessly, exuding an inspiring sense of composure that filled me with pride. Their performance was deserving of the spotlight.

The curtains rose to reveal Lankadem played by Noah Esplana who just electrified the audience with a sure-footed pirouette with six revolutions. To make it even better, he repeats it, performing another impressive quintuple pirouette. This author sat a little straighter and clutched her camera tightly, ready for his next move. His charisma was undeniable. 

Based on his debut, he shows promising potential to become a true star. While his execution of jumps and turns could use more precision and clarity, there were moments of brilliance that ignited excitement. Despite occasional instances of floppy footwork, his performance left me intrigued. I'm eager to follow his journey and see how he progresses in future roles.

Back in 2013, Mark Sumaylo debuted as Conrad in Le Corsaire and even then, Sumaylo showed that he had everything he needed to be a star. In this production, he was confident and carefree with the maturity of a seasoned Principal dancer. He now has the clarity of movement and mime. His partnering skills are also something to commend because he consistently enhances the performances of his female counterparts.

Oliveiro, portraying his love interest, played a pivotal role in the ballet's success. She had a sophisticated exuberance that drew the audience’s attention. Balancing elegance with energy is a delicate task, yet she managed it effortlessly, delivering a performance that was a sheer delight. Despite the very technical choreography that requires a dancer to reel in the emotion, she danced with complete joy and emotional involvement in every scene. Her extensions were elongated and her epaulement and epaule (shoulder and arm twists while doing extensions) were luxurious. Her sustained balances were thrilling and ultimately satisfying to watch. Her joyful leaps  evoked smiles and a sense of flight, as if we were soaring alongside her.

Joshua Enciso portrayed the role of Ali with notable proficiency, quickly capturing the attention of balletomanes with his more polished dancing.Shaira Comeros as Gulnara had the emotional mettle to stir a crowd. Her unwavering portrayal of the tearful woman being sold off was piercing. Her movements were so centered that even when she changed the flow or step it would remain undetected by an untrained eye. She was every bit a Principal dancer– calm, composed, and seamless.  

Soloists Pia Dames, Pearl Dames, and Jessa Balote performing the odalisque were meticulously clean.  Romeo Peralta and Rissa Camaclang as Birbanto and Birbanto’s mistress were convincing in both movement and character. Pasha, played by Gerardo Franciso, tickled everyone with his humor, which made me wish that he and Esplana had more comedic moments. 

Back to Classic

The primary challenge in reimagining Le Corsaire lay in its problematic narrative, but this ballet was never really about loving the storyline. Rather, it thrives on the exhilarating choreography and captivating dramatics. In this regard, Ballet Manila's production stands as a resounding success, re-establishing the company as a strong contender in the classics. Their soloists and corps de ballet elevate every visit to the theater, showcasing a level of excellence to their audiences in every performance.

 

Tickets: P1,500, P1,200

Show Dates: February 24-25, March 3

Venue: Aliw Theater

Running Time: 2.5 Hours

Credits: 

Artistic Director: Lisa Macuja Elizalde 

Retelling: Lisa Macuja Elizalde 

Choreography: Marius Petipa

Cast: 

Conrad : Mark  Sumaylo

Medora : Abigail Oliveiro

Lankadem : Noah Esplana

Gulnare : Shaira Comeros 

Ali: Joshua Enciso 

Pasha : Gerardo Francisco

Odalisques: Pia Dames, Pearl Dames, Jessa Balote

Hong Kong Ballet's Le Corsaire and Newly Found Treasures

Note : All performance photos are by Conrad Dy-Liacco

Septime Webre who stands as the new Artistic Director of the company is  a vibrant figure that represents energy and innovation. The astonishing  growth he brought Washington Ballet and their local community is of epic proportion. If his past performance is any indication of his commitment to fresh ideas, then a similar growth spurt should be expected for Hong Kong Ballet. It seems that his  leadership is all about  empowerment of creativity. It is my impression that creativity is his tool in reaching out to more people and connecting them through art. His first steps are quite telling.  This spirited man quickly made a very imposing good impression. So far he has enhanced the presence of the Company by social media activation with live feeds, teasers, visual click baits. While these are normal marketing tools, the Company's approach is very fresh, peppered with youth, charm and yes even humor.  He has captured  the attention of a new younger market by reintroducing  Hong Kong Ballet as an international player  who is inspiring yet RELATABLE.  He has also  brought inspiring guest artists and teachers  to join the Company productions (Don Quixote and most recently Le Corsaire)  enhancing the experience of both the dancers and their audiences. He has likewise improved their community connection by adding more  limited run workshops for dancers and balletomanes to enjoy.  There are pre-show, mid show and  post show activities for ticket buyers. He even opened the shows with speeches and ended them by facilitating meet and greets with the cast. His approach I believe is to create meaningful experiences WITH the Company. Through his efforts, the Company's reach is expanding and the good thing is what he has to show is good. His kick off efforts is a spanking good start. Madeleine Onne (who is also a dance visionary) is probably smiling knowing what she planned for 2017 is being carried out marvelously. 

The Company recently offered their premiere of "Le Corsaire" which was restaged by Anna Marie Holmes  after the choreography of Marius Petipa. Julio Bocca was also commissioned to enhance the authenticity of the performances. The story revolves around the adventures of a pirate named Conrad who needed to rescue his love interest the slave girl Medora. 

This ballet is not  famous because of the narrative. Instead it is popular because of the virtuoso type dancing that is required of the dancers. Hong Kong Ballet delivered and impressed crowds with their dependable technique and polished artistry. The first weekend shows featured renowned guest artists  but the Company's own dancers did not fall behind. Their talent remained in the spotlight. 

Maria Kotchekova as Medora 

Matthew Golding as Conrad

The November 4 matinee show featured Matthew Golding  as Conrad and JIN Yao as Medora. Golding was positively golden. His effortless extended  leaps were consistently buoyant. He tickled the audiences with multiple five rotation pirouettes. There is an  obvious tenacity in his movements making his pirate  swagger believable.   JIN  as Medora was every bit a seasoned Principal Dancer. Her  entrances were done with her body always opening up graciously to the audience. Medora's sequences include numerous complicated fouettes and corner turns but she succeeded   in complying with the technical demands. Plucked from the Corp De Ballet were WANG Qingxin who played Gulnare and Garry Corpuz as Lankendem.  Wang has everything it takes to be a star. She is blessed with beauty, grace and a flexible body. However, as Gulnare I could feel her nerves. She faltered in her corner turns and her fouettes. Often her movements during partnering felt tentative. While she was beautiful in every scene, her matinee performance was definitely far from flawless. Corpuz' performance was unexpected as he is a new recruit from the Philippines.  He delivered crisp and clean triple pirouettes   and jumps that can be likened to Golding's. Fully extended grand jetes, consistent tours en passe made his debut solid. Together, they make a good pair, their body types are complementary. I feel that this match up will have repeats in the near future. LI  Lin surprised me as he seemed meek but he was   dynamic as the slave and was able to  pull of his variation with ease.  Jonathan Spigner was energetic as Birbanto but his troubles with the Orchestra were quite distracting. The Odalisque is one of the highlights of the ballet and the matinee trio was triumphant. Especially brilliant was the performance of Japanese dancer Ayano Haneishi who did six sets of strong triple pirouettes in her variation. She left a very strong impression of dependability. 

Garry Corpuz as Lankendem and WANG Quingxin as Gulnare 

Matthew Golding as Conrad , JIN Yao as Medora and LL Jiabo as Ali

The gala show featured the world renowned  Maria Kotchekova as Medora and Wei Wei as Conrad. Kotchekova's version was only slightly different from that of JIN, Yao  but it seemed like I was watching a totally different show. I would say it was her  brazen approach to movement that  made  the difference.  She leaps and launches into lifts with no hesitation. Her lightness made her upside down fish dive so impressive. Her port de bras more than made up  for her size and she translated them into glorious sweeping movements that brought the audiences to an alternate reality.   Ultimately it was how she commanded her body to tell the story that made her moments on stage special. The only problem with her performance is the obvious height difference between Wei Wei and her. She reached only  the danseur's  shoulders  and the imbalance between a dynamic small ballerina and a gentle giant  was  unsettling. Perhaps someone like Principal dancer Shen Jie would have been a better match. In contrast, XIA, Jun and YE Feifei as Lankendem and Gulnare created magic. Their  pas de deux in Act 1 was a picture of seamless partnership. Individually, they also delivered sparkling performances. YE, Fei Fei's extensions were picture perfect. As Gulnare she appeared fragile but her movements were strong and solid.  She seemed to glide through the floor as she did her diagonal fouettes and double piques and lame ducks. With minimal effort she executed steps with the right breath and grace.  The performance of her Lankendem was entertaining. XIA is not only a strong dancer with hyper extended legs. He is  a great  actor with dominating presence. His approach was flashy and deliciously wicked.  WANG, Qingxin fully redeemed herself when she danced Odalisque. She was absolutely luminous in her variation. She likewise did a series of commendable triple pirouettes. This time she allowed the audience to fully enjoy her performance. Shen Jie as Birbanto exhibited nonchalant maturity in his steps. Eliciting cheers from the audience was the spectacular performance of  Li Jiabo as the slave Ali.. His inverted 540 thrilled the audience making them clap enthusiastically mid variation.  His ala second turns were fast yet controlled and his manege energetic

Maria Kotchekova as Medora and WEI Wei as Conrad 

YE Fei Fei as Gulnare and XIA Jun as Lankendem 

Shen Jie as Birbanto 

                         

The cast is not the only thing exceptional about this show.  Hugo Milan outdid himself with the sets and costumes.  The sets had a  modern take  yet  it did not compromise the details. In a muted way it blends in fantasy into the visuals. For instance the pirate cave  usually depicted as a dark earthy cave was replaced by a bejeweled enclosed space emphasizing the accumulated treasures of the pirates.  A gorgeous view of the moon decorated stage allowing for picturesque moments during the pas de deuxs. The transformation of the palace to the jardin was magical. The lights hit the golden pillars and in a mesmerizing blur transformed into a completely different set. Similarly the costumes he created were couture-like creations with rich details. The show ended with the  ship sinking  but it was cleverly executed using the perspective of the audience.  Seeing the water projected from front and the back of the stage created an almost inclusive three dimensional experience. 

Hong Kong Ballet's  "Le Corsaire" is obviously a product of harmonious collaboration. Webre succeeded in empowering everyone's creativity. The influence of Anna Marie Holmes and Julio Bocca  can be seen in the Company's passionate display of artistry on stage. The sets and costumes contributed greatly in adding color to the story. The interactive experience before and after the shows also brought great joy. This performance raises the bar for Hong Kong Ballet. Not only has Webre proven that he is a precious new treasure, he has also shown that he has the eye to see which people will shine  in the spotlight.   If he can keep producing shows with the same vigor,  Hong Kong Ballet's new chapter will be quite an interesting one.  There will be much to look forward to. 

Note : All interview photographs were shot by the author Erica Marquez Jacinto

Septime Webre and Matthew Golding
"This is the first time that I was given an opportunity to get to know the Company"

Matthew Golding with Ll  Lin

JIN Yao
" Le Corsaire is a very technical ballet. For me it is even harder than Swan Lake because  you are just turning from Act 1 until the end. There so much to think about while telling the story"

Ayano HANEISHI 

DONG, Ruixue

Never underestimate the power of a woman: Ballet Manila's Le Corsaire

I wanted to complete Lisa Macuja’s Swan Song Series. I wanted to see her do her final interpretation of Medora. However, I was far to excited to see Principal Dancer Mylene Aggabao-Salgado’s return to the stage. As always, when a dancer gives birth, eyebrows raise in doubt whether a comeback is possible. Not me, having followed her career from its roots I was certain that the universe would conspire  and allow her to reign supreme on stage. I wish I had bet on that opinion as I was 100% accurate. Mylene Aggabao-Salgado performed effortlessly as Medora. She nailed every step with agility and her usual technical ability. Triple pirouettes and triple lame duck turns onstage are rare but they just kept on coming. I’m glad that she was victorious against fear and doubt. I guess its true what they say, happiness blinds out fear . Maybe it’s the arrival of her beautiful baby girl or maybe its because she’s happy to be back on the spotlight but she shines better now than ever. She managed to evoke a richness of character that I have not seen from her before.

Her level of performance however proved to be  a feat for her Conrad played by Junmark Suymaylo. Every bit of a charmer, he partnered her beautifully. However it was clear from the beginning that he has a lot more to go to dance at par with Ballet Manila’s principal dancer. Not to be misunderstood, this is not to say he danced poorly. He is quite a dramateur, quite pleasing to the eye.

Finally  I got to see Michael Divinigracia in a role that  could truly showcase his talent. He played Ali, Conrad’s able slave. He did not disappoint. He delivered his tricks with just the right touch of  humility and strength required for the role. I was thoroughly pleased.

Much can be said about all other factors of the production but I guess strong dancers make all else forgivable. No need to expound on the sad opening set of cartoon waves and a static miniature boat. No need to expound on the sadly heavy looking corps de ballet in the garden scene. (Yes ballet can be unforgiving when it comes to physique. That's just the way it is.)

To sum it up, Ballet Manila’s Le Corsaire was more about revelations than the story.  Forgive me for the cliches that you are about to hear but simply put, the show proved that they are indeed true.

1

        Never underestimate a woman, especially when the woman is Mylene Aggabao-Salgado, someone empowered by her passion for the art.

      We are all stars in the making.  Our dear Conrad has everything he needs to be a star.     All he needs is  a little bit more dedication to the barre and he might as well claim    stardom.

3

      Good things happen to those who wait. Such is true in the case of Michael Divinigracia.  I hope Ballet Manila sees what I see in him and gives him more challenging roles.

Footnote 

 Le Corsaire “ The Pirate “ is really about a story that comes full circle. It’s a story about taking on a     challenge with the odds against the heroine and ends with empowerment.  I find it fitting that Ballet     Manila has chosen  this story ballet as part of Lisa Macuja’s Swan Song Series. Though it is probably       because  the ballet is one of their flagship gems, I find that it mirrors Lisa Macuja’s timeline of success for Ballet Manila. Very much like Medora (the ballet’s heroine)  Lisa Macuja gambled big time when she built Ballet Manila, the only private classical ballet company in the Philippines. Now as her Swan Song Series comes nearer to its end, the company stands strong empowered by a whole history of battles won, stars born and seasons under their belt.  Medora was not only enamored by her Pirate Conrad, she also set a goal to give people their freedom. Lisa Macuj has done just that with Ballet Manila. Ballet Manila in their own way has found a way to marry their one true love of ballet and at the same time reach out to masses who are thirsty for the beauty of ballet. They have freed people as well and allowed them to be special because of their programs. Indeed something to celebrate.