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

Ballet Manila's Swan Lake, A Tribute to Tradition

Ballet Manila's opening gala of Swan Lake reminded me of a  popular quote that goes  "Dancers are athletes of God". The reference was not  because of the blood and sweat that sacrificial dancers go through when mounting a full length but  because I saw  a cloud of competition gently hovering over the Aliw Theater. Perhaps not everyone understands the magnitude of the challenge Ballet Manila chose to take. Swan Lake in itself  is a test of discipline, unity, technique and artistry. It is without a doubt a measure that clearly reflects  the competence of a ballet company.   In this case it goes beyond that. Ballet Manila's Swan Lake is the third version to be presented  in a span of 12 months. Whether the companies intentionally ignited the healthy competition or not, it is there for the taking. Philippine Ballet Theatre  showcased the meatier excerpts of the ballet while Ballet Philippines did the full length earlier this year. It is almost serendipitous  that Ballet Manila ends the battle of the swans.  With two distinctly different approaches to the classic, there is a lingering  expectation for Ballet Manila to deliver something palpable. Save the best for last?!  

Ballet Manila's version is largely based on the 1895 staging of Marius Petipa and Lev Ivanov. Except for some minor updates  in the divertissement section of the ballet,  the company boasts of sticking to the original choreography. Fiercely loyal to the Vaganova brand, it seems they are intent on proving that there is value in holding on to tradition. Don't fix what ain't broken, instead  make it shine so everyone can recognize it's value. They simply retold the story of the prince who found the cursed Swan Queen Odette in the forest. In mime and movement they allowed the story of deception and redemption of an interrupted love. 

The Cast

BM Principal dancer Katherine Barkman came out of the mist and debuted as Odette/Odile in Ballet Manila's opening gala. With an arresting sense of calm and an air of assurance she took  her very first arabesque and lingered beautifully. Her next rushes of movement would have the same quiet quality that showed a level of maturity . As Odette she chose to portray an ethereal princess with a weightlessness that was appropriate for the lyrical requirements of the part. But it was as Odile that she won my vote. Her wicked temperament was memorable and so was her imperious  fouettes. She denied me  of guessing what turn would go next because she confidently shifted from single-single-doubles to continuous doubles. She commanded her legs as she wished  and they mechanically obeyed. She was born a bravura but passed the test of performing both roles adequately.

Katherine Barkman as 

Partnering Barkman is the newly recruited Guest Principal dancer Joseph Phillips. He was last seen playing the same part in the Ballet Philippines' version. He reprises this role with a different set of steps to adhere to. He whipped four or five pirouettes  and did his trademark jumps with the strength of a young man. This time around, I felt his artistry fell short. There were rare but noticeable moments of muted despair and urgency.  I will have to commend him however for flawlessly partnering Barkman. Their partnership has a hefty amount of potential. Longevity seems  achievable. 

Joseph Phillips as Prince Sigfried 

                        

Alfren Salgado as the villain was effective. He was an imposing character who grounded his every moment on stage with a devilish flair. His leaps were equally flamboyant. 

Among the Company's strongest was Heewon Cho who was refreshing to watch. She performed the pas de trois in the first act and cygnets in the second act. She displayed her ability to sway the audience with her sparkling smile and generous port de bras (movement of the arms) and  high extensions. Her turns were beautifully placed  and musical. This ballerina  was light and lovely. 

Heewon Cho in Pas De Trois

Swan Lake would be powerless without an efficient corp de ballet. I would have to say among the three companies they glaringly won the best ensemble award. In strength and in number this corp de ballet was unparalleled. (Their previous staging of Act II was even better) Pictures don't lie. Impeccable lines and photo-friendly arms, legs and level of eyesight. Definitely this fleet of swans deserve applause. Well played indeed. 








Denied Preferences
Act 1 was vibrant and lively with an army of beautiful dancers as ensemble and an good trio to enjoy. Act 2  was dramatic and lyrical. Act 3 for me was a bit of a downer  because my preferences were not satisfied.  While the dancers performed well, I again missed the more dynamic updated versions of character dances being performed by featured soloists instead of the ensemble. It was quickly redeemed by the dramatics that the Black Swan Pas de deux provided. The culminating act closed the show with  a strong vision of the Prince and Odette in flight. It was a Nutcracker-ish moment that sealed the story with hope and happiness. A dazzling ending to a very serious ballet journey. 

Spectrum of Light and Color 
Much has been said about the dancing but it is imperative to make mention the details that helped emphasize it.  Jimmy Villanueva's light design is impeccable. Just as extraordinary as the Princess transforming into a swan, the lights had its own magic.  Much like the movement of the Swan, the lights were graceful and its every move purposeful. I find it amazing that he is able to go dramatically dark while keeping the dancers' faces luminous. The illusions he creates are powerful. 



Worthy 
The iconic story that has captivated hearts of many was given justice. Looking at the production in its entirety, it is a lovely tribute to Tchaikovsky's music and Petipa and Ivanov's choreography. Swan Lake is always a good idea, but I would have to say that Ballet Manila is a good place to start if you want a satiating taste  of  a white ballet. Ballet Manila was right. Keeping traditions can be delightful. Third time is a charm. 

Lisa Macuja as Queen 

Gerardo Francisco as Jester 

Jessa Ballote in Pas De Trois

Elpidio Magat in Pas De Trois