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

These are a Few of My Favorite Things

"Raindrops on roses, whiskers on kittens, bright copper kettles and warm woolen mittens,brown paper packages tied up with strings, these are a few of my favorite things. .......When the dog bites, when the bee stings when I'm  feeling sad, I simply remember my  favorite things and then I don't feel so bad." It was that song that made us think happy cotton candy thoughts. It was that soothing melody that was  transferred from generation to generation to cure all pains from cuts and bruises to feverish tantrums.  These feel-good lyrics  along with the a handful of songs from  the musical Sound of Music have been flawlessly integrated into everyone's childhood. Definitely it would belong to many families' favorite things. It definitely is part of mine. It has been 52 years since the movie that popularized the musical was released but a global cult following still exists. After having seen the recent staging in Solaire I now know why. 

The story is about a novice  Maria  Rainer who is sent to the Von Trapp family to be their governess so she can find her spiritual calling. The military run household is tamed gently by Maria through music. United by chance Maria and the Von Trapp family find love and peace at the most unlikely of times. The story is set on the onset of World War II and its political undercurrents were already conceivable. With the glorious music of Rodgers and Hammerstein the 30-strong international cast and Filipino add ons took on the challenge of ensuring the enduring appeal of Sound of Music lives on. 

During the media call of Concertus Manila's  "Sound of Music" most of the press asked the cast members what made SOM a household favorite. Some of them echoed my experience, it was the joyfulness  of the music and the story that drew them in as children. Zoe Bevon  who plays Liesl Von Trapp shared her insightful point of view. She quipped "You relate to different characters as you grow up"  I realized how true that was because it is a play with an age range so great that it can reflect people in different stages of their lives. The story has rebellious kids craving for attention, teenagers figuring out what love is, and adults who are figuring out their  convictions.  You find new things fall in love with each time you revisit the musical. Also interesting was the point of view of the adults who got to know and love the musical as adults.   Jonathan Taylor who plays  Max Detweiler in the music  didn't think there anything more than the fluff it was famous for. As he studied the material as an actor, he found darker and deeper layers into the Nazi  history. In essence he believed that its message was strong and relevant, lessons that every generation could and should appreciate.  The loving words from the cast intensified the responsibility to give justice to the epic story that everyone has come to love in their own special way. Thankfully, they delivered a delightful package of talent on that very same day. 

The Cast 

Carmen Pretorius as Maria Rainer was a refreshing sight. Having done Liesl prior to stepping into the role of Maria, her perspective of the characterization seemed full. She opted for a more contemporary feel far from the usual mimicry of Julie Andrews.  She animated the role with her own brand of subtleties.  Physically she was without the caricature excesses making her performance very natural and believable. Surprisingly her straightforward approach did not come across as stiff. Pretorius was witty, absolutely charming and most importantly warm. With notes like hers, I would be convinced too that music can fix every concern in the world. Her sustained energy kept the whole story intact. 

Opposite her was  Nicholas Maude as Capt Von Trapp. Similarly Maude stirred far away from Christopher Plummer's famous movie version. Consistent with the character his military style was strongly portrayed. What sets him apart  is his ability to soften up at perfect moments. I would call his ability to blush a cute shade of pink on command as an awesome addition  to his acting skill write up. Whether it's tears or love that commands it, it creates an atmosphere of sincerity. His pacing was almost too good, never a step ahead instead he reacts, skilled receiver. 

Zoe Bevon  as Liesl and Michael McMeeking as Rolf were good individually. Their sixteen going on seventeen was  a fun number. However the dancing highlights were painful to watch. It lacked grace and finesse and I was almost afraid that they would ruin the sets. 

Who can forget the children?! The Filipino cast was composed of Oren Soleta, Gwn Dorado, Dean Angelia, Krystal Brimner, Sam Lagman and Faline Dorado. Such vibrant and crystal clear performances from these children. Standing out was Krystal Brimner  who was fully intent on making the most of her  solo moments on stage. Her actuations were consistently purposeful whether she was in the background or foreground. Clearly it was their eagerness  that captured the hearts of many. 

The Visuals

The muted colors  were a good contrast to the colorful performance because it didn't overwhelm the audiences with comical colors. It instead allowed the audiences to focus on what was going on. It was like a coincidental vignette framing everything delicately. 

The Bottomline 

The strength of this production goes beyond the amount of talent they have  put on stage. What I believe is the core of this production is the clarity of the message. I have watched the movie hundreds of times and I have likewise seen and loved the musical versions but I saw something different with the treatment of the words and the scenes. The same words were uttered but I had a better understanding of its undertones because it was delivered with intention not to just  entertain but to educate. In the song "No Way to Stop it, the Baroness and Max Detweiler convince the Captain to compromise his ideals  because he can't do anything about it. They sing the words "Be Wise, Compromise" and "Just as long as I'm living there'll be nothing as wonderful as I". They weren't just conflict characters, I realized they were intended to reflect the ills of society. The reality of  people  choosing comfort over ideals. (I reckon this also stands out to me because it is a timely reflection of the Philippines but let's not talk about that). In the end when the Von Trapps flee, i realize that Jonathan Taylor was right when he said that his role and this play had layers.  At the very end Max  chose to be the sacrificial lamb, he learned to love and sacrifice  so that others could be free. He stood firm with his chosen conviction. The family , Maria, love changed him. It wasn't just music that cured everything. it was  the undeniable love that was so infectious and strong it could not possibly be denied existence. In the end, I believe the very intelligent direction of this musical paved way to give more purpose to all the transformations of the characters. There was a  way to stop the madness after all. 

The Verdict

This staging of Sound of Music is fresh and ready for the taking. It will be worth every penny. It will not only bring on the irresistible nostalgia, it will bring people so many new things to love. Test the concept. See you at the theatre?

Note :Photos of the cast show a different set of children as they were taken during the MEDIA CALL

October-Ballet-Fest!

 

Nothing ordinary about October. In fact, it's going to be a lively one for the dance world. Our three major ballet companies will offer three very distinct programs. I'm quite happy to see artistic diversity as it gives audiences an option to see all three companies even if they are  just days apart. It allows each company to refine their respective brand imagery. Truly all three companies have unique qualities that make them all worthy of a full house. 

Philippine Ballet Theatre offers Merry Widow as it's second offering for the season. It is a story about former lovers who are given a chance to reignite their lost love. The opportunity comes  when a party reunites a rich widow named Hana Glawari with her first love  Count Danilo  to her first heartbreak. The story is told with light humor and ostentatious dramatics.  Similar to who PBT really is, it promises to show sophisticated refinement. I reckon a sense of ownership to this flamboyant ballet.  PBT is actually  the only company in the Philippines who has performed this ballet. It was last seen in 2001 when the Company staged Julie Boromeo's grandiose  version. This time around based on Franz Lehar's Operetta, PBT's Artistic Director will present his own version. Having seen snippets of their rehearsal it gives me the impression that their new show will be  everything but simple. Interesting partnering, colorful unisons and  strong story telling, that is what I foresee. Their show opens on Sept 30 and closes on October 1. Don't miss Kim Abrogena and Veronica Atienza as Hana Glawari and guest artist Martin Buczco  as Count Danilo (Berlin Staatsopera). 

Ballet Manila sticks to what it does best. As a second installment to their season Flights of Fantasy, the Company will be staging the ultimate white ballet "Swan Lake" which opens on October 7, 2017 and closes on October 15, 2017.  The company takes on the challenge of preserving the tradition and history of the ballet  by restaging a show that is close to its original form.  Artistic Director Lisa Macuja herself devoted time and effort in mentoring her new breed of Swan Queens and it will be interesting to see if they will conquer the technical and artistic requirements of the ballet.  The role of Odette/Odile will be played by Katherine Barkman, Abigail Oliveiro and Joan Sia while Joseph Phillips, Elpidio Magat, Romeo Peralta, Rudy de Dios and Mark Sumaylo will be taking on the role of Prince Siegfried.  This dramatic story ballet glorifies the art form with its physical demands.  The promise 32 fouetttes, drilled corp de ballet and the majestic music of Pyotr Ilyich Tchaikovsky should  be enough to draw in audiences. Swan Lake simply can't be missed. It's a ballet that should be watched not once but numerous times in one's lifetime. 

October-Ballet-Fest ends with Ballet Philippines' "The Exemplars. Amada and other Dances". The most contemporary of the three companies, BP will present a  mixed bill that will show pieces from their collection of oldies but goodies. Most will be modern ballets.  Some of the works that will be presented were created as early as the seventies.  "Amada" will make a comeback with no less than international ballerina Candice Adea. This piece is particularly special because  it is  serendipitous collaboration of artists who now hold the highest honors in art.  The story was based on  National Artist for Literature Nick Joaquin's "Summer Solstice" The music used is by National Artist for Music Lucrecia Kasilag. Finally the choreography was crafted by National Artist for Dance  Alice Reyes. Indeed watching this can be called eye opening education. Also included in the  mixed bill is "Valse Fantasy" created by Muneca Alonte, "Ang Sultan" by Gener Caringal, "Songs of a Wayfarer" by Norman Walker and "Concertino" by Pauline Koners. Their mixed bill is pretty much establishing that Ballet Philippines. They open on October 20, 2017 and closes October 22, 2017. 

All three companies will have their award winning dancers taking the lead. All three companies are also making use of guest artists. This makes October-ballet-fest a tad more interesting. The best of the best are ready to be seen. Now will this healthy competition help fill up the theaters?! I surely hope so because each Company can provide  a different experience. Something new from Philippine Ballet Theater, something classic  from Ballet Manila and something revisited from Ballet Philippines. Take your pick people. See you everyone at least three times this October.

Ballerinas in Rehearsals 

Photos by Justin Bella Alonte 

Candice Adea rehearsing Amada 

Denise Parungao of Ballet Philippines 

Philippine Ballet's first  full stage rehearsal
Kim Abrogena with Martin Buczco 

 Ballet Manila Swans
Photo by Alfren Salgado 

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 

Keeping up with Traditions, A Review of West Side Story in Manila

Photo from Concertus Manila Production's FB Page

A month ago, Concertus Productions brought the ever so iconic dance musical "West Side Story" to the swanky Solaire Theatre. With this production following the enormous success of "Newsies" by Nineworks Theatrical there was quite a pumped up anticipation leading to the show. That plus the fact that it is particularly famous because of its exquisite choreography, I was really waiting impatiently for opening weekend. I watched this production twice, the first being their opening weekend and the second nearing its closing date. However, I decided to post this blog entry late because I didn't want to appear negative towards the show most people were raving about. If there is anything I would not want to do ever, it is to antagonize artists or discourage people from watching theater. I am after all a theater fan, theater geek, advocate of the arts etc. In the end it wasn't as if there was nothing to be enjoyed. There will always be something to love in live theater.

Photo by Johann Persson

The original staging was directed and choreographed by the modern man of  theater during the fifties, Mr. Jerome Robbins. The book was written by Arthur Laurents and the music was created by Leonard Bernstein. West Side story was a musical that was regarded as a bold irreverent message that challenged the inhumane norm of discrimination and hate of that time. Mirroring Shakespeare's tragedy they told the love story of Tony (an American) and Maria (a Puertorican) who were caught in the middle of a power struggle in a mixed neighborhood in New York City. It was a strike on inter-racial warfare. A nod to Shakespeare's Romeo and Juliet, it tells the story of the rivalry of the Jets and Sharks that led  to  blood on the streets.

The Real Tragedy 

The real tragedy in this production is the dancing. While most will rave about the cast performance, I found it quite disappointing. It's not about technique as it is about performance value. Jerome Robbins is a choreographer who made a name for integrating movement to the story and his characters. He developed characters by assigning them stylized movement that is carried throughout as a defining mark. From an emotion comes a snap and then a step and then a leap with not much fuss or preparation. Every movement should be emerging naturally in stride in their pedestrian actions. In his productions dancing becomes as natural as walking. With his vocabulary largely based on ballet, this actually means that his cast must be able to do every thing with so much ease. For Robbins, movement is not just an accent or a decorative display, it is storytelling. This was not the case in the Manila showing. Generally, the steps were just steps. 

I remember reading somewhere that synchronization of the respective groups were critical because it reflected the allegiance of the two groups to each other. Both groups were supposed to be distinctly solid but UNIQUE units. With that in mind I found the differentiation between the American Jets and the Puerto Rican Sharks weak. The Jets were casual and playful and the Sharks were smooth and suave as actors but in their unison dancing they all looked the same to me.

The choreographed fight scenes lacked tenacity and looked more like a pas de deux (dance of two) of sorts. Everything was calculated and nothing looked like a struggle. In the staging of "America" the beautiful senoritas danced musically but not with abandon. In dance, flavor is everything.It was again a very clean but lackluster performance of an epic dance. I waited for the legs to kick with power and length and  for the jumps to fly.

I could not relate the dance performances to the organic approach typically found in Robbins theatrical pieces.

Epic Video about a West Side Story Original Cast Member teaching the choreography

Original Cast rehearsing for the West Side Story 50th Anniversary

The Lack of Anguish

The racial under currents were not really evident making it seem like petty fights in the playground. This diminishes the mounting of the deaths in the story. In this musical, so many characters die. But it seems like deaths can easily be digested nowadays. The lack of anguish in all the death scenes were very disturbing. At one point Maria played by Jenna Burns squeaked "Killer! Killer!" to her loved one Tony who just killed her brother. Hitting his chest she proceeded with a tantrum-like thread of words. In the scene where she defends herself to Anita she doesn't breakdown on the floor she gracefully and carefully slid from the bed to the floor fidgeting as if they were talking about a high school break up. Yes there was sadness but there was no torment. When Tony played by Kevin Hack died, he tried to sing "Somewhere" in an almost comical way that the scene lost its momentum. Collectively this was not quite the tragedy I was expecting.

Joyful Peformances 

While I missed the turmoil, I was delighted with the comedy. Memorable to me was the energetic "Officer Krupke" where the sharks made excuses for their bad behavior. All the characters contributed to a highly enjoyable roast of juvenile delinquency. Every joke was lovingly answered with joyful laughter. In the same manner "I Feel Pretty" number was cute as can be.

One of the biggest scenes in the musical is the all white ballet. This ballet ended beautifully with everyone singing like angels. A full cast singing "Somewhere" gave me goosebumps. The serenity of the scene and the soft quality of the voices  gave me  the healing touch theater gives the heart.

One of the highlights would have to be the staging of "Tonight". It was a recreation of the balcony scene in the ballet Romeo and Juliet. The music was soothing to the soul. It ended beautifully with the sets moving apart almost signalling their inevitable separation. The three dimensional movement definitely allowed me to zoom in on the scene much like an emphasized movie ending.

The Cast

Individually, each cast member had their fair share of shining moments. Anita played by Keely Beirne was sassy and memorable. Waldemar Quinones-Villanueva as Bernardo was perfect for the part, smooth and dangerous. Kevin Hack as Tony serenaded the audience convincingly. He was very endearing.  Jenna Burns was wonderfully charming and comical.

Keeping up with Traditions

After having conversed with theater and non theater friends about the production I realized that what bothered me was not the lack of talent or technique but the weak tribute to the material. I  have a natural preference to keep a good balance of tradition, intention and artistic freedom. It was my familiarity of the material that held me back from having an unadulterated appreciation of the musical. I watched it a second time with an open mind and I found beautiful moments in this musical. In the end despite everything, it was still a night of enjoyable theater. I do hope I get to see more stagings of this dance musical in the future.

Luis Cabrera's Baptism of Fire

Photo from Hong Kong Ballet Page 

Hong Kong Ballet has always been part of my travel considerations. If my memory serves me right, I've seen at least one show from each season for the last five or more  years.   Through the years they have created so  many beautiful memories of art but nothing compares to days  you get to sit in that audience and see Filipinos shine. There is a robust flurry of Adrenalin that occupies me when our  very own Filipinos take on that massive Hong Kong Cultural Center Theater. In the past, I silently cheered for Carlos Pacis who was a refreshing  bravura danseur  who colored that stage passionately.  I  thoroughly enjoyed the journey of one of our laureled ballerinas Candice Adea as Soloist of  Hong Kong Ballet. My heart was overjoyed to see her at her very best. I've had the pleasure of witnessing former BP dancer   Luis Cabrera's first season with Hong Kong Ballet and was impressed that he stood out nicely with his schooled modern technique and unique earthy style.Thankfully, destiny would ensure that there always be a Filipino to watch out for.  Former Ballet Philippines artist Gary Corpus recently joined the company and I have no doubt that his stay will be just as fruitful. In my point of view, the  Company seems to have  been very good to our Kababayans, providing them with good experience, artistic opportunities  and priceless mentorship from international stars. But  this year is  is a game changer. Not only do we currently have two Filipinos with the Company, we  have something new to celebrate. 

Luis Cabrera
Photo by Conrad Dy Liacco from Hong Kong Ballet Page 

Hong Kong Ballet has an annual choreographer's showcase pretty much structured like Neo Filipino, Bagong Sayaw or Koryolab of CCP. It is an annual effort to encourage their dancers to evolve as dancers and at the same time explore choreography. Historically, it has been the launchpad for choreographers in Hong Kong since the 1980's. The Company accepts applications from their dancers, screens their initial concepts and ideas and picks the most promising ones to mount in the show.  In July of this year, I was ecstatic to see in the press release that our very own  Luis Cabrera was accepted into the program.The selected choreographers were  mentored in the aspects of mounting choreography, music, lighting, costume design and production design. Joining the Company's new artistic director Septime Webre in the panel of mentors  is Yuri Ng of  YatPo Singers and Anna Chan Head of Dance of Peforming Arts of West Kowloon Cultural District Authority. This is apart from the company's very own talent pool who are  very much involved in making the choreographers' vision a reality. Needless to say it is a very good opportunity  for Cabrera to make a mark for himself as a Choreographer. This opportunity however does come without a challenge. It is very much like a baptism of fire as it is actually his first attempt to create work showcasing commissioned work with  professional dancers. Even with his extensive schooling from Philippine High School of the Arts, Ballet Philippines and Hong Kong Academy for Performing Arts, I reckon the word easy still  would not be appropriate for developing  his international debut.  

According to Cabrera, his first step was to find inspiration. As he explained, he was initially drawn to the  movie "Schindler's List" . His piece is in no way a representation of the movie but touches on the recurrent issue of  death and puncturing feeling of loss. With the piercing quality of the music he explored  how loss and fear  can put you at a crossroad. Will the struggle hold you back or push you forward?Will the pain complete you or break you? In this piece he attempts to translate the abstract concept of loss in movement. His piece will be performed by  Principal Dancer Ll Jiabo, Soloist LIU Miao Miao, Coryphee Shunsuki Arimizu,  artists Forrest Oliveros, Henry Seldon and Liang Yonglin. His piece debuts at the Choreographer's Showcase on September 15  and runs until the 17th at the Studio Theater of  the Hong kong Cultural Center. 

Luis Cabrera
Photo By Tim Wong
From Hong Kong Ballet FB Page 

While his status in the Company is already enough for  the Philippines to be proud of him, it is equally stirring to see an international company recognize his potential as a creator of dance. Truly this one in a lifetime chance is one that brings pride to the Philippines. May his baptism of fire be from a radiant  candle  that can  illuminate his path. May its flickers of light be just the right amount to temper his skill and his passion so that he can move forward gloriously.   I wish him luck and encourage others to send a prayer or two to the heavens above for a flawless staging of his vision. His success after all is our success too. Cheers to a Filipino pride. Cheers to Philippine dance.  

Snippets of his piece published in Hong Kong Ballet 's page