Hong Kong Ballet's Dream of the Red Chamber: Chinese Classic on Center stage

A mix of cultures, genres and taste levels always excite me as an audience member. I actually have a fascination for very ethnic or folkloric pieces being transformed into ballets. I'm not quite sure about other countries but I have seen very few translations of  culturally bound literary pieces. There is definitely an abundance of short choreography but full lengths are rare. To me, this is understandable since the challenge of staying true to cultural  and literary truths while leaving a definite impression is big. Hong Kong ballet definitely embarked on an ambitious project with Dream of the Red Chamber.

Dream of the Red Chamber is considered one of China's greatest novels with over a hundred characters and consequently  numerous highlights. . Culture, political color, love and life,.....  How do you all put it together in one ballet?

The curtains rose to reveal an almost 3d teleserye savvy looking flat stage with all the characters in a tableau. Slowly the stage and the panels came to life. The stage platforms moved forward ever so smoothly allowing the light to touch the faces of the central characters. It rotated until the platform disappeared and revealed the opening scene. Out came the characters we were to encounter. The story revolved around a mythical story about how a mythical stone enters the human realm and is embodied by the lead  Jin played by Wei Wei. He is at the center of story. His political family requires that he marries  a maiden named Baocha for the sake of stability. However he years for a maiden named Daiyu. Both ladies could not have been more different from each other. In the end he chooses Baocha which leads to his emotional grief and a collapse of his humanity. Daiyu dies in grief  and leaves the earth with an undying legacy of  sorrow for Jin . There's actually more to the story than that as the novel undoubtedly had shades of political opinion and history.  

The two and half hour staging was as complex and loaded as I expected. I'm actually conflicted about how I feel about it all. There were moments when my mouth was hanging from the richness of the choreography, the color and aesthetics of the stage. However, there were unbearable moments where I just wanted to sleep and or literally walk out. The choreographer  Wang XIn Peng beautifully interpreted Chinese culture highlights. Memorable to me was the girls' dance with the sleeves. I've seen this traditional dance before, but the choreographer took it to a whole other level of fascinating. it was visually a feast of off center movements. The slightest of the jumps made the sleeves  create beautiful colorful shapes.  The pas de trois of the three leads was stunning. The lifts and the transition of Jin  from  Daiyu to Baocha was exciting. Since, this pas de trois was done in the first act at this point, the audience really had no idea who Jin was going to pick. His chemistry with both provided a space for wonder. The pas de deux between Jin and Daiyu using the red scarf made me sit up and just watch the complexity of life happen on stage. I was drawn to the red scarf as if it was my life line. My eyes were moving back and forth with the red scarf as the two dancers pulled and pushed each other. I loved the drama of it all. The dances I mentioned were not just beautifully choreographed, they were framed to perfection by a set designed to impress. The set evolved from scene to scene as if it were turning the pages of a book. I have never seen a more artistically sensitive and emotionally connected (to the choreography) set than  this.  What I didn't like about this ballet was that it included so many scenes that took us away from the simple story of the love triangle. True, it was much about the cultural and political influences of that time that made the story unique. However, I hated the ten or so minutes of video presentation, it  killed the momentum of the story. Furthermore I also almost died watching  a super duper long fashion catwalk  that I could not connect to the story. While I have no doubt  that it is to a degree relevant, it was painfully boring. I appreciated that they brought the story forward and transported them to the modern times, ... and yes I did love the awesome cherry blossom scene, I couldn't understand why they had to incorporate in a very long long long scene ( it seemed long) of war.With all that in mind, ...... conflicted. 

Wei Wei who played the main character was captivating. More than the technicality of his steps, it was the depth of his emotion that drew me in. I sympathized with him even if his character was weak and fickle minded.  He partnered  his ladies beautifully with able arms while maintaining a very strong connection to each of the women. The real meat of the story however was translated by its two ladies.  Soloist Liu Yuyao who plays Daiyu , with her long legs and perfectly arched feet was picturesque with every step making a beautiful memory in my head. She is very much a lyrical dancer and is perfectly cast in the role. She did look the part, fragile but unconventionally beautiful. Principal dancer Wu Fei Fei played the role of Baocha, the sensible,conservative option for our lead. I must say, she was every bit a Principal Dancer. Though I loved all the leads, she will have to be my favorite. She has a very strong command of the stage. It seemed that everybody else kind of blurred away every time she started dancing. Her preciseness was commendable. Though she was the "other woman", half the time it made sense to me to pick her over Daiyu. Her extensions were swift yet elegant. Her grand jetes, seemed to float effortlessly across the floor. The thing I like most about her was that she had the flare, her movements seemed to me like a stylish Michael Cinco gown. She was effervescent, ultimately impalpable. 

In the end balletomane that  I was, I didn't regret flying to Hong Kong to see this ballet. I appreciated the Hong Kong dancers much much more. Though I am not  resident in Hong Kong, I feel almost connected to them as a fan. I enjoyed the  fusion of chinese elements and history to the western art form. Even with my dissatisfaction over the entire Act 3, I see vision and a high amount of art in this play. Kudos to Hong Kong Ballet for embarking on such a risque journey. Kudos for leaving if anything a very definite imprint of China in the hearts of the audience.  Thank you for a taste of Asian drama. 

On a personal note, I loved seeing Manila's very own Candice Adea dance on the Grand Theatre of the Hong Kong Cultural Center. She was the cutest Asian girl ever to appear on that stage armed with her potent stage presence. My heart fills with pride. Also, I loved the appearance of a certain Frank Van Tongeren who played several bit roles. He was energetic and magnetic. He reminds me of American Ballet Theatre's Marcelo Gomes. 

Hongkong Arts Festival: American Ballet Theatre's Yin and Yang

It’s always been a dream of mine to just flee for a month, travel around the world to watch as much ballet and broadway as I possibly could. My seemingly unattainable bucket list entry usually depresses me a bit but shining opportunities like the Hong Kong Arts Festival gives me quick fix with a succulent  fill of my addiction. Aligned with their resolve to show Hong Kong precious art nuggets from the global community, they invited American Ballet Theatre to represent the dance industry. American Ballet Theatre stayed in the Grand Theatre of the Hongkong Cultural Center for two weeks showing three different programs. The first two programs were  a mix of classical and contemporary ballet. The third program was a full staging of Romeo and Juliet. Just to pick which program to watch was quite difficult. The deciding factor was the cast for each of the program. We ended up watching the first two programs.

I expected ABT to be outstanding. I flew thousands of miles to see them precisely because I knew they were good. But I was curious to learn about their company dynamic and style. Moreover, I was curious to see who will be the most memorable dancer in the crop of all stars.

Having seen two programs, a total of 7 choreographies and a total of 10 Principal dancers  in two days my mind was completely overwhelmed. I was thoroughly pleased. Both gala shows did not disappoint. If there was anything I took home to Manila, it was the realization that American Ballet Theatre has successfully collected  some of the most brilliant dancers of this generation.

Marcelo Gomes stood out for me. I’ve had the opportunity to share the stage with him when I was younger and I must say he has grown. He was already an excellent dancer then but he now completely owns the stage. His beautifully sculpted body is enough to stare but his technique is en pointe too.  It must be a challenge to have to perform side by side such a strong presence. His artistry is moving. On the second night he danced in   The Moor’s Pavane and he literally broke my heart. He created beautiful moments and that for me is the mark of a real star.

Julie Kent was every bit the prima ballerina. She was stunningly beautiful . I want her feet, her legs, her neck. A few seconds of port de bras and I was already having “Life is unfair” conversations in my head. She was actually injured and did not perform the previous night so I was rooting for her in the audience. She performed on flat as the piece dictated but it was as if she were walking on point. Her feet melt in to the floor with each step. Her port de bras is perfect. I dare say perfect. Her role that evening did not require much technicality. It did not have fouettes, giant leaps perhaps a few penchees but that’s about it. But her performance for me did not need those because she was  every bit an artist. She is the perfect match to Marcelo Gomes. How I wish I were able to see them do the last offering which was Romeo and Juliet.  Surely the two of them would move me to tears.

Herman Cornejo on our first night at the theatre just made me lose all my poise when he danced  in Symphony #9. He was ridiculously good. He did en dedan tours  and defied gravity with his quick powerful leaps some of which ended in kneeling position. My husband, usually a very reserved kind of person started whooping. Truly a few moments of embarrassment but moments of insanity come hand in hand with moments of greatness.

Memorable to me was Daniil Simkin’s Stars and Stripes. His exhuberance and energy seemed never ending. He has a certain boyish charm that’s hard to resist. His youth for a lack of a better term was captivating. Technically  he was very proficient with cabrioles and beats. His legs were literally like scissors in the air. His multiple pirouettes were noteworthy not because they were plenty but because they were done with flair.  I am now a certified fan. Most definitely this boy is  google worthy. I must note however that he would sometimes slip on his partnering skills. Fortunately, Principal Sarah Lane was able adapt to the many surprises.

Polina Semionava, such an angelic face. Her body alone is to die for but what makes her special is the way she extends her body even more. Nature in its generosity  has endowed the gifts of grace and flexibility to this woman. When she executes a step it is always with a certain ethereal lightness. Ballet after all is about beautiful lines and the girl has got plenty. I’m not surprised that the crowd went wild as she exited the stage’s back door.

Lastly, I adored ballet couple Stella Abrera and Sascha Redetsky. Though they did not at any point dance together, they basically were very striking  dancers in the sea  of technically competent dancers. They had style .

It was exciting for me to see the new stars but it was fulfilling for me to see the mature talents of the company. Yin and Yang , ABT is a wonderfully balanced company who has not lost its touch. Thank you for allowing me to silence the mind and let the eyes marvel at beautiful things. Bravo! Til We Meet Again.

with lucas jacinto and marcelo gomes

marcelo and lucas 

 marcelo and my baby berry

polina semionova with a whole herd of followers 

I couldnt ascertain her name but she was uh-maaaazing. She's one of the soloists but she wore different wigs during the shows so I couldn't match the face with the name. 

American Ballet Theatre

Gala 1: Drink To Me Only With Thine Eyes / Black Swan pdd / Stars & Stripes pdd / Shostakovich Symphony #9

Gala 2: The Leaves Are Fading / The Moor’s Pavane / Symphony in C

Romeo and Juliet

Hong Kong, Cultural Centre, Grand Theatre

21, 22, 27, 28 February 2013

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. 

I miss you Tito Tony

Reading about the upcoming tribute for the late Tony Fabella has gotten me all  sentimental. Can't help but still be sad. Can't help but feel the loss. Though others probably find my sentiments overly melodramatic I really do feel a pinch in my heart every time I hear his name. I got so used to him being a part of our lives that not having him feels strange. 

In 2011 I wrote him a letter. A few years after my feelings of gratitude are still very much alive. Hope you heard my words in heaven Tito Tony! Hope you heard my prayers. A million thanks for all that you have done for us all. 

Dear Tito Tony,

A couple of years ago when i went to your wake, I cried. I cried because  I lost you. I cried because the dancers lost you. But I cried more because you would never know how much you meant to me.  We were never very close. We did not share dates to remember nor did we give gifts to each other. Perhaps to you, I am just one of the hundreds if not thousands of dancers you have encountered. But to me, you were a symbol of hope. Unknown to you when I met you I was an insecure dancer who was just drowning in the struggles of the art. I went to Teacher Perry's studio and you had already started  with some of the choreography  for her recital. I was new in her school, I was not the best nor was I the most senior in that school. I was quite possibly the lousiest in that batch. But you took my hand and brought me to the center of the room and taught me the lead out of nowhere. Heads turned, mothers were angry but you stood by me and you trusted me. You did not listen to the noise. You even took another step further as you made me a special costume with special accessories. I pretended not to notice then. But I did and I wore it with pride. You were the first person who allowed me to step into the spotlight .  It was a turning point.  From that point on I had hope in my heart. If somebody as important as you saw something good in me , then maybe there were more people out there who would give this dancer their time of day. 

From then on, you never failed to disappoint. Year after year you were there for me , encouraging me always. I remember you asking me  . . . . " Nsa PBT ka na nga ba?" I said yes  and you said. ...... " That's good. Always dance. .. . . never stop. It will be hard from now on but you just have to dance"  If I could only tell you now that as hard as it is for me to do, I'M STILL DANCING. I wish I could still dance for you.

I remember you  approaching me in Teacher Perry's studio, with a naughty and knowing smile in your face.  With the tone of your voice and other circumstances I assumed you were talking about me and my former suitor-current husband Lucas. Rumors were in the air. You  gave me unsolicited advise. Out of the blue you  said something like,  "Alam mo Erica hindi lahat ng naririnig mo totoo. Invest in people. Sometimes, you'll be surprised, how good they turn out to be. Wag ka makikinig sa iba at sumayaw ka nalang" . Again I listened  and look at what that brought me?! Nagulat nga po ako that you were updated sa chismis and that you cared enough to say something.

When I was with PBT, you continued to support me. After mounting Fiesta (where you pre-maturely grouped me with the senior tall girls ;ATE GUADA ABI LEA and TESS) , you talked to me and said, learn Guada's part you will dance that soon. I was shocked, I could not possibly do justice to her part. I didn't take it seriously just coz It seemed impossible at that point in my career. I regret because, I now realize that I failed to see the message in what you had said. I should have believed in myself because you did.

The last conversation  I had with you was  during Teacher Perry's recital. . . . . You were  smoking in the backstage lobby.My face  I guess a bit disappointed because  I did not do so well in your difficult choreography. I   changed it a bit and did not exactly want to see you right that moment. You said . . . "Napanood ko"   and  giggled a bit. "Mashado kang nerbyosa iha. Magaling ka. Don't forget that. Enjoy ka lang."  And that for me would be the first time anybody voiced out their approval of my dancing (apart from family and friends) . I was psyched. And again you gave me hope. 

There are many more stories of you in my heart. It seems that though  i never had lengthy conversations with you, that you were able to impart so much to me. You lifted me up when I needed to be lifted. You allowed me to think with clarity when  hardships muddled  my perception. More importantly, you pushed me to just continue. You have meant so much to me all these years. I wish I could have thanked you in person before you left us. I love you. Thank you for everything. I wish I could dance all the dances you've taught me. I can only wish that you  can read this as you look down on  me from Heaven. You will never be forgotten.

         Much love,
         Erica

Giselle is not for the faint of heart

Giselle the ballet is not a fairy tale. Neither is it a simple story of  tragedy. It is a complex story of human frailty in the face of love and pain.   Anybody who has loved can relate to Giselle. As the story unfolds, the realities of how a woman is completely changed by love is delicately revealed. And contrary to how others feel about the story, I feel that it doesn’t show the woman's weaknesses. It shows how a woman with so much love in her  can be strong enough to forgive any sin. It shows how a woman can look past mistakes and dig deep and allow herself to move mountains   just  to be able to love. 

The romanticism, the sensitive music and the ingenious choreography of this white ballet  has made it one of my all time favorites. It's a ballet that has spoken to me in so many levels as person and as a dancer. You can just imagine my anticipation when I heard that Ballet Philippines was  doing Giselle. Excitement doesn't quite paint the picture.

The first time I saw Giselle, it was portrayed by prima ballerina Maniya Barredo. She was then partnered by my all time crush Nonoy Froilan. This was the singular moment that I realized  I wanted to be a performer. She pushed me to tears. She pushed the audience to stand up and give the show  8 curtain calls. The next time I saw it was when I was part of the cast of Ballet Philippines in 1998. I saw three principals take on the lead role, Cecile Sicangco, Toni Lopez Gonzales and Lisa Macuja.  The role of Albrecht was done by American Ballet Theater's debonair Jose Manuel Carreno. The critics raved about the shows as they should because the cast was just amazing. Needless to say my expectations were unbelievably high.  But I prepared myself for having a great night nonetheless, I strongly believed in the capacity of Ballet Philippines.

Act 1 of Giselle is story telling time. But unfortunately it fell  a  little short for me. I have the highest respect for  the dancers but there  were certain areas that did not sit well with me. Two gorgeous pairs performing the peasant pas de quartre  was promising. I love all of these dancers individually because of their strong technical capacity.  Monica  Gana was graceful, light and beautiful. Jemima Reyes executed beautiful extensions and made good use of her well arched feet and  capturing spirit. But as a duet, they were practically never together. Their performance lacked team work as all their finishes were done in canon.  Even when partnered they did not have the same pulse. The boys however shone as Emmanuel  Guillermo and Victor Maguad performed every step like twins. Each jump was landed perfectly clean and stable. It was a delight to see these boys execute the steps with ease  and professionalism. I would have  preferred to see  the traditional peasant pa de deux. It would have showed off the dancers better instead of distracting the audience.  In the confrontation and mad scene crucial mistakes were done by the cast affecting the storyline. For instance, Albrecht played by JM Cordero shushes Bathilde ( a princess) telling her not to tell Giselle about their betrothal. The role of the duke was that of  man who prioritized  his royalty over all else. That was the whole point of the betrayal.  It was a very small gesture but to those who know the story, it was quite odd. When Giselle  played by Kit Trofeo finally realizes what has happened she goes mad a little too prematurely. But what was funny was when she attempts to kill herself Hilarion played by John Earl Arisola was unable to act on cue as she was able to stab herself completely before he got the sword. And yes after having stabbed herself to death she obviously did not die.  When she finally died of heart ache  nobody grieved  with intensity. Nobody panicked. Nobody was shocked. I would like to think if I die a similar death that the small world that surrounds me would crumble to pieces and mourn my death.  I expected a tragedy, a black day for everyone. Even with the heavenly music of Giselle and the flawless performances of Kit Trofeo and JM Cordero in their pas de deux and in their solos, Act 1 still ended up disappointing me. It is after all a story ballet. The beautiful story must come across as it was written.

 The second act was crucial to this ballet as it requires  a great amount of commitment  both in characterization and interpretation of the movements. Thankfully, it was a surprisingly strong redemption. The sets perfectly complemented the choreography of the wilis. The mood was set, eerie and sad. The corp de ballet stepped up and delivered clean and crisp movements of the famous floating chugs of 24 synchronized dancers. It was a beautiful sight. I definitely did not hold back and screamed BRAVO in appreciation for such a delightful performance. Kit Trofeo and JM Cordero  performed their pas de deux and made every lift seem so easy. It is very evident that JM is a very skilled partner and that Kit is a seasoned dancer.  I never saw a single preparation as they transitioned to every lift smoothly. The role of Giselle in the second act is physically taxing as the choreography requires  numerous jumps and lifts while maintaining a very disconnected and ethereal look. Kit did not just perform everything without huffing and puffing she was consistently sensitive in her portrayal. It wasn't just her face that spoke of sadness, she articulated it with every movement.    JM in his solo impressed me with his clean cabrioles and series of entrechats. Act two was a success.

I entered the theatre thinking I would end up comparing the dancers to the principals of a different generation. But in the end I didn't . I apparently cared about the ballet much more than I thought. I wanted to preserve its story, its essence, its morals. While it is true that Act 1 did disappoint me, it cannot erase the fact that I saw beautiful dancing from the Company.  I am appreciative of the fact that Ballet Philippines took on the challenge of doing such  an intricate and beautiful  white ballet such as Giselle. In fact I'm thankful. Bravo Ballet Philippines and thank you for the experience. You brought me back to where I was decades ago. I left  just like I had after watching Maniya Barredo, bewildered at how a single ballet can make a heart flutter in excitement. 

The Story of a Beautiful Butterfly

Dear Berry,

You’re getting bigger and bigger by the day. And though I want to keep you as close as possible, I know that one day, you won’t be my little girl anymore. My baby girl, adulthood is tough but it can also be beautiful. I want you to embrace everything beautiful .That’s why I’d like to give you a gift. I would like to write you letters . I will write to you  because  I want you to remember how good a person you are. I want you to remember how much of a blessing you were to me and your father. I want you to remember the good times. Life will sometimes make you think that you’re not good enough I hope the letters will ground you and remind you that you were always more than enough.

It’s August 24, 2013 and I just got home from a performance of Alice and Wonderland. I was the butterfly. You came to watch me with your cousins Mishie and Gaby accompanied by Nanny Rose, Yaya Car and Tito Cesar. Today my dearest child, you surprised me. I don’t know what good I’ve done in my life to deserve so much love from you. Either I’ve done something positive with my life or God is waking me up to say “do something good because I’ve given you something beyond great”.  I saw you in the audience today jumping up and down waving at me. I felt your eyes on me. I saw you clapping for me.  Though  I did not hear your soft voice screaming Bravo, both nanny Rose and Tito Cesar swore you were telling the truth. I believe them. I was far from good today Berry but I did remember enjoying every bit of my performance. But after the show you rushed to hug me and said….”You were amazing mom! You are so beautiful.” Any distaste or dissatisfaction I may have had about today  I let go instantly.  It brings tears to my eyes remembering you say these words. You don’t know how much it means to me to have someone so dear to me support me and love me MORE  because of my art.  An audience complimenting me  brightens up my day instantly . My child expressing adoration in a million different ways  brightens up my life. Last week after my first show you said to me, “Mom, you’re pretty special. Other moms are like teachers, doctors  etc but you…. You get to be a beautiful butterfly”. Thank you Berry for making me feel that what I do is special.

 

You are such a sweet child Berry. I say that not only because you were appreciative of  me but because you always take things a step further. Today before going home, you said to me  “ Mom, I’m sorry I forgot to bring flowers for you I’ll make something for you when we get home”. You were actually ashamed. It was so overwhelming for me to see that you felt I deserved more.  I've heard kids promise things to their moms, but you actually did make something for me. I heard you crying in the kitchen because you couldn't make me cookies. Nanny told us there weren't enough ingredients for you to bake for me. I told you to make me glass of juice instead because I was so thirsty.  You wiped your tears and made me my juice. If you only knew what your little gifts and gestures mean to me. They are worth fields and fields of flowers my love. They to me are irrevocable, immortal memories that I will cherish for the rest of my life. You've given me moments to look back at when my days are gray. Thank you Berry for loving mommy so much. I can only hope then when you grow up, you continue to love me and care for me the same way. But if you don’t I won’t have a reason to complain because at four ’you've given me more than enough joy to last a lifetime.

I love you Berry with all my heart. Thank you. Thank you. Thank you. Thank you . You to me are the real butterfly. You are living proof that   each day can change you and make you even more precious than before. 

Love,

Mommy 

Happy World Theatre Day!!!

My post title has nothing to do with my actual post or rant but it is what prompted me to write down my thoughts. To me celebrating something means putting importance to its relevance in the world. Celebrating something means highlighting  something you believe in.Think Christmas. Think Independence Day. So here I was excited to find out through facebook that there was actually a day dedicated to the theatre. Thank god there was a holiday that put art on the spotlight. But as I was thinking of  how glorious the state of local theatre is, I kept on getting distracted. Rushing to my head were the negative  issues that surround our local industry . Moreover the thing that stuck most were the opinions of certain individuals that portray our industry as crass rather than a class act. My spirits are officially down in the dumps. Yes opinions (just like mine) are individual sentiments but (like mine) they still can sting you. 

A year ago, I watched Phantom of the Opera. After which I was excited to write  my total experience. Before I could do so, I saw a notification in my facebook group that the play I was in King and I by Resorts World Philippines  was being nominated alongside Phantom of the Opera. Yet another distraction came my way when I saw a bothersome post about the said nominations that irked me sooooo much I just decided to not write about Phantom of the Opera. Somebody criticized the philippine audiences  for  displaying extreme level of colonial mentality. The blogger boasted that she did not watch Phantom of the Opera because she chose to support LOCAL theatre instead. She implied that people watched Phantom so they could take pictures and post them in social media portraying them genuinely elite and cultured. She implied that of course Phantom of the Opera would have a strong chance of winning because  nobody bothered to watch the local shows.  

I was fuming mad. I was terrified that people would agree with her. While its true that  a handful came for their few minutes of glory in instagram, others came for the art.  I am a self confessed theatre buff. I try to watch as many shows as I can because its something I truly enjoy. I fancy musicals and ballets the most. I bought tickets to Phantom of the Opera because of the beautiful music I wanted to see come alive on stage. I wanted to see the intricate plot  dramatized in front of me. If a Filipino company staged Phantom of the Opera I would have bought tickets to that show too. Phantom of the Opera was indeed a treat, just a splendid production that allowed the audience to feast on life, color, light, music and everything else in between. It deserved the hype in my opinion. Deep down inside I know she was only talking about a few but still I took offense as if it were a personal attack. I believe I took it badly because it seriously punctured my idealistic  view that theatre  is nothing but beautiful. In my head if people came to the shows (even if they didn't fill all seats), art and theatre were triumphant. It meant people cared. It meant people spent their time to see other people do what they were meant to do. It meant they shared their precious money  to see a show. Theatre may struggle but if people came to the show, then art conquered all. For people to describe the people who show up  to these shows  (both international or local) as lame, uneducated, uncultured and unsupportive of fellow Filipinos was  offensive. Could it be true that our theatre community would be that insecure to think that supporting an international project would be demeaning for the Filipinos ? I didn't know that such an issue existed. I fervently hope that it really isn't and it was just a singular voice. Politics in theatre , lack of funds, ..... these are imperfections that are real to me. But the audience in my head remain the most beautiful thing in the industry, loving and supportive. The idea is to bring more people to watch not offend them. 

Then came another post which was just recently was the elected topic of the year for theatre people. A publicist criticized local lighting designers for their lack luster performance and inability to contribute to a play. If I'm not mistaken it also implied that with limited resources available to them the designers could not deliver. I'm all for criticizing art, it develops people. However the premise here was that it was because there was scarcity of talent and financial resources  that there is a decline in  performance.  That I didn't agree with. Thank God for  Ms. Lea Salonga who came out with an article that efficiently shut people up.  Her title was all people needed to hear "Commitment, All it takes for great theatre to happen". Yes its important to be well funded because a production's vision is attained with ease. That however is  not the only thing you need. I belong to the production of King and I who obviously  did not spare a centavo in providing all that is required to put up a great show. As our director so eloquently said in one of our company calls " I'm proud of the money well spent in this production." I'm proud of him as well because he was committed to squeezing out everything he could to come up with a splendid production. I'm proud of the production team as well because they were committed to supporting our director's vision.  However, I am EQUALLY   proud of Philippine Ballet Theatre's performances where there is almost a a non-existent budget because the creative team could still make something beautiful emerge. At the end of the day, you can only call something ART when  the creators have bared their souls giving their all to something. There are many many productions that have shown their masterpieces  against all odds. To say that the local theatre is unable to deliver is a mockery of a  million artists that make up the theatre industry. That to me is  the inability to see beautiful things. 

Overall, I guess I'm just extremely miffed that there are people who look down on the audiences  and people who look down on the art. I know I can't control what people think or do or say. That doesn't mean I can't be sad. So there, I'm sad. In my world, theatre in the Philippines is as  alive as the color red. Its passionate. It's rich. It's resilient.  I can make a few more hundred sentences to explain why it should be celebrated. I just have a silent hope that people go out there and celebrate it with me by watching a show or two. Perhaps after a dose of brilliance, the negativity  of people would dissipate.