Daloy Dance Company: Moment

In the Photo :Krisbelle Mamangun & Pj Rebullida
Photo by: Erica Marquez Jacinto
Choreography: Sky Reconfigured 

And in one breath we met. 
Sharing space and time 
Wind knocked out of me, I felt you in my arms. 
I caught you mid air, but I felt you save me.

I heard your pulse quicken at my touch
Succumbing to the organic rhythm of life
I remembered my humanity
I felt free but I felt vulnerable

More than a hand I offered 
More than day I offered 
Lost time has taught me well 
Regret has made me certain

And with a single glance I quickly forgot my place
Transported to a past deeply buried in haste
Fearful but hopeful I stay for a moment
But tomorrow I know I will stay forever and a day 

This girl is on fire: Bolshoi Ballet's Flames of Paris

Graphic from Hong Kong Arts Festival 

Bolshoi Ballet has no choice but to bring their A-game  what with all the dramatics that is tagged to their famous name  in the news. A few years after the stench of politics and artistic differences still ring when the prestigious company is mentioned. All you need to do is google them and it will show  the stories that obviously  distract the audiences from remembering the glorious days of the Company. My balletomane self adores the Bolshoi Ballet. I've actually been antsy for awhile waiting to see them perform in the annual Hong Kong Arts festival.  I wanted to see if the dancing suffered from all the turmoil and negative press.  I guess they feed resilience to the dancers. The company is stronger than ever. I am a certified fan girl. 

Bolshoi Ballet presented Alexei Ratmansky's  version of "Flames of Paris"   This version is bigger than life itself. It was as if he read the big book of ballet and decided to throw in all the steps and combinations physically possible. Gloriously choreographed, it was scene after scene of technically difficult movements. Each portion was with glazed with risk and excitement. Take for instance one of the opening  pas de deux of the heroine Jean played by Ekaterina Krysanova and Philippe  by Vyacheslav Lopatin I stayed at the edge of my seat as I saw the danseur literally throw the ballerina in a series of at least  six major death defying lifts done consecutively. Krysanova was seen flipping on air, upside down, in overhead lift in a span of just three  minutes.  Three  danseurs did an impressive piece centered on jumps done in perfect canon. Towards the end of the ballet he had a parade of at least eight girls entering in an overhead lift to decorate his stage.  His choreography was almost kaleidoscopic. He never failed to add a couple more colors to the painting on stage. His use of the dancers' technical ability glorifies his dancers. Kudos to all the dancers for being able to execute  dances that not only require technique and flair but stamina. Appropriately  depicting the french revolution was a coup d' etat of  stardom and precision  on stage.  

Photo by Elena Fetisova 

Worthy of mention is  Principal dancer, Krysanova's portrayal of Jean. Her interpretation was organic and powerful. She was literally on fire, performing without a care in the world. It was refreshing to see a dancer perform devoid of any insecurity. Who needs youtube when you can see her doing her tricks at command. Let's see...... her tricks included speedy corner double pique turns. She also performed her flavorful fouettes, single double third is a double with a different  port de bras. In between the twirling she in triples at her convenience. Her character dancing in Dance of the Basque was believable and just filled with so much intensity. Every time she would enter, it was always with so much passion. I couldn't help but hear the song "This girl is on fire" every time. She sizzled and satisfied. 

Playing  Philippe was  Lead Soloist Vyacheslav Lopatin whose technique was clean. He was charming and likeable even relatable. He kept it simple with double and triple pirouettes but dazzled the audience with a magnificently done revoltade in the grand pas de deux.  Individually our leads were memorable and strong but together they lacked  chemistry. They were a good match technically but emotionally there wasn't much romance. It was more like a friendship that never blossomed. Google friendzone. 

In the ballet within the ballet "Rinaldo and Armida", lead soloist Kristina Kretova left me at awe. The choreography was designed to impress with solid classical technique. The audience love her skillful hops in attitude on pointe and clapped until she finished four revolutions. After this she finished her variation with yet a series of corner hops ending with a solid triple or even quadruple beats as if to say, it was nothing really.  In her coda, as required by the choreography, she performed two sets of manege  and ended gracefully swiftly  lifting her leg in a beautiful attitude. Her sophistication was a great contrast from Krysanova's rustic flavor. She committed to the character until the end, beautiful, elegant and rich. 

Her partner likewise delivered. Principal Artem Ovcharenko did not disappoint as his ballon and extensions were lovely to look at. Spagat is an understatement. He was every bit the Adonis as he played the role of the Actor. He partnered Kretova comfortably and in a silky manner. 

Practically all the characters delivered in terms of establishing their role and what they represent. Clearly, this adaptation was done with a lot of conscientious coaching. The differentation was clear. Jean was bold. Philippe was heroic. Adeline was lyrical and fragile. Rinaldo and Armida were luxurious. I must say this was supported by a committed corp de ballet and a gorgeous set of  long legged corophees. 

True, there were dull moments partnered with dull music but considering the drab topic of the revolution, I was impressed.   I  cannot deny that Bolshoi is still one of the strongest companies in the international dance world. Inside the theatre, all the politics is white noise. Only the sound of deafening applause can be heard. To me, Bolshoi is no longer laced in shame but draped with success.  

Nothing else to say but bravo. 

  

Reinvention: Ballet Manila 2.0

Reinvention is a word not welcomed by many. It's intimidating. It's beyond the borders of comfort, It's a risk. Many mistake it for dressing up a different way, cutting and coloring your hair or maybe even relocating to a different location. Tiptoeing to the edge of map need not be letting go of who you are as a person. Ballet Manila shows us how its done right with Ballet Manila 2.0

Precious Beginnings

The repertoire presented last March 1, 2015 reflects a tribute to the past  and a transition to their future.  Ballet Manila has always  been at the forefront in presenting and preserving classical ballet reportoire. It was but fitting that  began the program with Paquita.  Incidentally this was also  their  season closer on their very first season twenty years ago. Dawna Mangahas danced with an effervescent quality. She was beautifully statuesque  as the ballerina. Her lines were picture perfect and I couldn't resist clicking away with her every pose. She was ably partnered by Elpidio Magat. Magat  who  nailed his tours landing on arabesque consistently and with ease.  The corp de ballet articulated the classical symmetry  required of the ballet. Classical ballet when done right is like a beautiful sunset that warms your heart. It stays with you after days. 

I saw Osias Barosso's Etudes twenty Years ago when my own friends who of course were kids then were the featured dancers. It was a mighty strong throwback that got me a bit emotional. It's a just precious when you see works that have evolved and developed through time. Definitely, Etudes reflects a journey of hard work and commitment. 

A brand new flavor 

 
There was a time that I did not appreciate the modern ballet repertoire of Ballet Manila. Twenty years after, It seems the hunger to explore new territory has now put Ballet Manila as a double treat in the dance industry.  I saw a different level of maturity as they performed "Bloom" choreographed by Belgian-Columbian choreographer Annabelle Lopez Ochoa.  A different company danced with confident synchronism. Pardon my language when I say  the unison portions of the men  were fiercely "bad-ass" good. The performance however glorified the women a tad bit more. Bloom speaks of  beholding beauty and gratitude. The piece ever so gracefully like a flower opened up and revealed its   rising stars with commanding allure. Undoubtedly, my new favorite in the Company is Abigail Olivieros who  kept the audience captivated with her every move dripping with emotion. Blessed with a good body to work on she executed her extensions almost lovingly with her partner Brian Williamson. New to the company, Williamson seems to be a good fit so far showing dynamics in the way he moves. With  talent and a greatly intense dance vocabulary, Bloom was just a plain and simple success. It's  a taste of Ballet Manila's brand new flavor out to entice new markets and audiences. 

Staying close to home

Tara let's  choreographed by Gerardo Francisco was a crowd favorite. I think it always has been since it premiered. Music is hip and happy, choreography energetic and story telling relatable. Though I did appreciate the fact that they chose to include in their repertoire a Filipino choreography.  I did think it was quite out of place. Ballet Manila has  numerous pieces that showcases how the Company have in the past  supported  Philippine talent.  The pompous half of me just thinks I know better and that they should have performed more epic (and to a point nationalistic)  pieces from the likes of Agnes Locsin, Tony Fabella or Bam Damian. 

I do understand though that this is a representation of how how they make the art form relatable to many.

Alumni Connection 

The star of the show was definitely the flawless performance of Christine Rocas from Joffrey Ballet. I grew up seeing Rocas dance with Ballet Manila and it is quite touching to see her perform with such maturity  on that stage. No longer a pretty girl, she has grown into a sophisticated woman whose eloquence is painted with her every movement. She dances with such sincerity that it's hard not to be moved by her. She is both fluid yet strong at the same time.  Her feet melt on the ground  as she makes a step towards Rory Hohenstein, her Romeo for the evening.She leaps in an elegant grand jete and you hear a slight gasp in the audience. It's not because of it was a simply a split but because she performs with such quality that it feels like a breeze just passed by. 

I've never seen Christopher Wheeldon's piece performed live and was always a little baffled when people  go nuts over it in the internet. But done perfectly, I felt Wheeldon's choreography. I didn't just watch it. It felt like the whole world stopped  and that the performance was for me. It was a piece that spoke volumes in its simplicity. I couldn't help but tear up as the  piece progressed. It just dug deeper and deeper. Hohenstein and Rocas were drawn together by the music. The contact between the two of them was palpable. Seamless. Mind blown.

In a nutshell

In a nutshell, Ballet Manila is fired up with renewed passion. If this show was meant to send a message to the audience and the industry , I think they were absolutely successful. Ballet Manila's refreshing new command of modern ballet is impressive and they can only get better through time. Perhaps a slight quiver of panic is now felt by its contemporaries in the business. Ballet Manila's reinvention is one that will take them to higher heights. I approve of the yin yang of contemporary and classics. Bravo Ballet Manila for a meticulously prepared Ballet Manila 2.0. Cheers to risks meant to be taken.

March 1, 2015

Ballet Manila 2.0 

Aliw Theatre

All photography by me:) Erica Marquez Jacinto

Deconstructing a Classic: Romeo and Juliet

Deconstructing classics tend to make me cringe a bit. It is not because I don't appreciate different perspectives, because I do. It actually excites me. It is more the fear that envelopes me as I wait and see if the performance will capture the essence of the masterpiece or reduce it to nothing. Many lose sight of the material and instead concentrate on personal and commercial goals, artistic insecurities and shock factor.

Thankfully, the people behind Manila Shakespeare Company as their chosen name implies, puts Shakespeare in a pedestal. They courageously chose Romeo and Juliet as their first offering to the public. That they did with much respect to the story. The twist was an adaptation of the classic to modern times.  The words of Shakespeare were never compromised throughout the play. It was however peppered with Filipino slang with the intention of making it more relatable to the audience. There were times it worked, and there were times I found it excessive and even distracting. Nonetheless it did not take away anything from the story. With how the story progressed, it was clear that director Nicanor Campos knew the material inside and out. It was obvious that he took the time to dissect each scene with the cast to humanize the brilliant words of Shakespeare.

Nicanor Campos picked the perfect Romeo and Juliet for his debut production. It helped that both leads were picture perfect. But it really was their passionate commitment to their roles that made all the difference. Nelsito Gomez impressed the audience with his boyish charm and intensity. Eyes were glued to him because he created moments of magic in his monologues. Memorable was the death of Tybalt where his struggle was evident with his staring eyes and his ever so slight trembles.

Rachel Coates was a modern Juliet. She did not approach the role with delicate stereotypes in mind. Intead, she was a modern, thinking, even brazen young lady. She was a vision of beauty as the light hit her face in the balcony. Oh the look of love!!!! It was endearing to say the least. She truly embodied the young Juliet who was in love with love.  

Who could forget the multi-tasking Katski Flores who masterfully portrayed both the nanny and Lady Montague. Her gutsy interpretation was what glued everything together. It was she who excellently inserted the Filipino slang appropriately and with ease. Easily the biggest and most important star of the show. She embodied the deconstruction and made it work.  With her every scene she gave a different, relatable take on the play of words. Truly it was a brilliant performance.

The characters all did their part pouring energy in every scene. Transitions and scene support from the ensemble were seamless as they ran all over the place without breaking sweat or causing distractions. A commendable effort overall from the cast.

While it is true that the play had a good solid cast, there were areas that could have been improved. There were crucial misses  in the lighting diminishing the effect of the actor's delivery. The audience had to squint to see Juliet's acting in the dark unlighted staircase. Changes from night and day were not evident. More importantly, some scenes had white washed light. While it is true that resources are compromised, there is reason to believe it is more timing that was the issue rather than  play of colors. There were several scenes.that were beautifully framed with light. The blocking of artists should have also considered the audience vista. In fact the play ended with half the room missing out on Juliet's death.

In a nutshell, Manila Shakespeare's theatrical debut legitimized itself as a theatre group with this production.  This being their first offering, the fitting query would be, "Did they give enough? ". I think they (the whole production) did. The best is yet to come for this neophyte company. I wish them well as they embark on a yet another journey. 

The Good and the Bad : Manhid the Musical

People will never see one thing exactly the same way. I believe it's because identities,personal history and taste level and social class affect what a person chooses to see.  That's the beauty of art, there's an element of uncertainty whether  what was created was a masterpiece or not. The artist waits with bated breath for either the applause or the indifferent silence after a product is presented for scrutiny. That being said, I think it is important to voice out the reactions of the audience to give constructive encouragement. Sometimes an opinion of one pushes the artist to make an unpolished rock a sparkling diamond.

That being said, here is what I thought about Manhid the Musical.

Being the brainchild of radical  artists of the 90s, there was a risk that the story would not translate well on stage. The history of its staging being raw and real type of theatre made it a challenge as well as they bring the story to a larger audience in the Main Theatre of the CCP. There was also the issue of the music capturing a new crowd of listeners.Will a complex story with commercial appeal  be appreciated  by the high nosed  people of CCP ? Staging this production was a big risk. While it's last staging was a hit, with new collaborators at work the question marks will float in the air.

Superheroes, rock music, ballet and bands sounded iffy to me. I hoped for the best but I was worried that it would stray and be a caricature of baduy. Thankfully, it was not. While the story was that of pinoy avengers, heroes, ex men journeys and kalikasan personified,  the talent was about refined artistry. The amount of talent on stage was astounding. The music was played and sung with soul. The dancing was performed with passion. Paul Morales casted the perfect people for the role. The heroines were mostly played by the actors and the villains were interpreted by the modern ballet dancers.

Dilim was played by the striking singer Jean Judith Javier. Definitely she was my favorite singer in the group. Not only did she have the gift of stage presence, her silvery voice filled the air with mystery. After two songs, I decided she was google worthy. Each of her appearances made me want to get to know her better. Her acting was refreshing as she did not go overboard portraying a character attached to multiple stereotypes. She did everything

Worthy of mention was Gold Villar who entertained everyone with her impeccable comedic timing. Her performance was fresh. I could be wrong but  I sense  that adlib and random improvisations are her magic. Hearing her speaking voice, i was surprised that she was pitch perfect with every song she performed. She captured the hearts of many with her belting voice and her crisp cussing.

Sandino Martin took the lead as Bantugan,  the leader of the good guys. Stop,look and listen is probably the best way the describe the experience. One must stop because almost all the scenes has him in it. Then you will probably take a second look because he is eye-candy. Lastly you will listen and swoon as he sings as if he were straight out of an acoustic concert. True, he could have made a few of his many scenes more memorable but as the main symbol of goodness in the land filled with manhid people, I grew a liking to him.

Richardson Yadao was born to play Apolaki. The conyo slang, the swagger and even the comedy he brought to the table was worthy of utmost praise. He leaps with power in his legs and confidence in his eyes.  He raised the bar for the other dancers as he not only stood out for his dancing, he gloriously conquered acting too.

Denise Parungao was picture perfect as Gonongleda easily doing double ala seconde turns  and pose' attitudes with silky balances. She did not disappoint  the audience consistently showing her cirque de soleil flexibility .

With such a big cast of characters. Not all shone but no one underplayed their individual roles. The day I watched not all were pitch perfect but i easily forgave them because emotion was present.  I say the cast did their best with what was given. 

Needless to say. I enjoyed the production as a musical. As a collaboration however there were a few points that  could have been improved. The ensemble choreography was very strong and appropriate. However, when it came to the big numbers where the singers and dancers had to dance and perform together as heroes and villains, it was quite messy. Skillwise and choreography wise, it was as if there was a demarcation line between the two sets of artists. Perhaps a more unified  set of choreography would not have highlighted the singers' inferior (compared to.the classically trained ballet dancers)  skills. As expected in any collaboration between song and dance, there were a handful of scenes where I was conflicted having to choose what part of the show to watch. I would have preferred a subtle blend of arts.

The story ends with an open ending. It was a message of hope for the future generation. However the message sent was like a whisper in the wind drowned by many voices. It was not quite as dramatic not emphatic  as it could have been. The whole show peaked with so much vibrance  only to end a bit dimly for my taste.

Truth be told, I am not a fan of the story but I still salute to this valiant effort. Though I've thrown a few criticisms here and there, I went home proud of the people behind the show. It was after all very entertaining, rich with talent and to a a certain extent patriotic and nationalistic. At the end of the show I screamed "Bravo" to express my appreciation. Now I end the experience by typing the  words "Bravo" to Ballet Philippines for taking a risk for art's sake. Bravo for allowing audiences to witness a collaboration of Filipino talent. All original Filipino musicals deserve to be on the spotlight.

                                                        

Ballet Philippines' Manhid Promotional Materials

Photography: Jojo Mamangun 

Creative Director: Paul Alexander Morales 

Styling: Gelo Arucan

Be You Bravely: La Cage Manila Aux Folles

Along with the rest of the world, I searched for that one resolution that I would attempt to fulfill in 2015. Even before Christmas came, I came across a bible quote that left me frozen. It said "Be you bravely". It was lifted from Romans 12:2  of the bible. I knew then that this was what I needed to do. While not everyone I know is religious , I know that most wish to be brave. I too want to be brave enough to be truly myself in all possible situations. I want to be brave enough to stand up for my beliefs. I want to be brave enough to say no. At the same time I want to be brave enough to love with no limits. I also want to be brave enough to find new things to be passionate about. But this post is not about my very long be brave list.It's about a living breathing musical that positively reminded me about this resolution.

Without saying too much (no spoiler alerts here), La Cage is a story about a non traditional family faced with a challenge. Two gay men are made to face their son's fiance and her ultra conservative family. That alone should be enough to intrigue. The show has a happy ending. How it came to be? I suggest you go get a ticket and find out for yourself.Immerse yourself in the comedy of errors

The story, the script, the music itself is genius in a platter. However, what makes this shows standing ovation worthy is the combustible materials that it is made of.  The cast is led by Audie Gemora who plays Zaza, the ultimate starlet in drag and Michael De Mesa who plays George the show producer. The two are in a lovingly gay relationship. They both hit the ball over the ball park with on point characterization. I have seen Audie Gemora splendidly play gay several times. Chameleon that he is, he always brought something new to the table. With De Mesa's magnetic charm and Gemora's truthfully gay portrayal, it was too good to be true. It was chemistry that made the difference. As good theatre does sometimes, their talent made me feel for them in every scene. I believed them individually and as a couple. I was painfully hurt when it was time to break the bad news to Zaza. I was equally stressed and conflicted when George did not know how to console Zaza. They were indeed brilliant story tellers. 

Michael De Mesa as George  Photography by Erica Jacinto 

Out to steal the limelight was the ensemble (who doubled as minor characters) who set  the stage on fire with their infectious energy. With the very complicated and calorie burning choreography, they managed to blow my mind ( a dancer's mind might I mention). The pieces were not only clean they were as colorful as the rainbow. I saw at least  ten fabulous versions of a sultry face. I think I even saw 5 versions of can can, skank meets giggles. BRAVO to the dancers who sang and the singers who danced. All I saw was a sea of unified madness.

The ensemble Photography by Erica Jacinto 

Rafa Siguion Reyna Photography by Erica Jacinto 

Photography by Erica Jacinto 

Noel Rayos as of the crazies deserves noteworthy mention for being memorable beyond belief. A famous star is only as good as his or her performance. I hurt my hands clapping for him  when I saw him play the the director's side kick  in Producers a while back. Part of me tbought I was gonna see a bit of that in La Cage. I was completely mistaken because he brought a whole different shade or shall I say shades to the words beautiful and gay.  He is simply one of the most brilliant actors of this time. He can  do no wrong in my eyes. Bravo.

Raul Montesa's role  of the conservative Father-in-law to be was short and sweet but we was a perfect touch of contrast to the crazies.   The nuances  that he had injected were hilarious.

Robbie Guevarra outdid himself with this show.  The overall production value of this show was beautifully balanced by well directed actors and actresses. The costumes had just the right touch. The set was cleverly designed. The lights framed every scene lovingly. It's not hard to see that a lot of love was put into this show. All the hard work is now being reciprocated by thunderous applause and standing ovations.

I end by saying, La Cage has a beautiful message. BE YOU BRAVELY. They message is packaged beautifully waiting for another person to unravel it. Go get a ticket and watch the show.
                      

Joni  Galeste as Anne  Photography by Erica Jacinto 

Priscilla The Musical : The Extraordinary Gender Bender

Priscilla to me was the grandest display of a gender bender. In a nutshell, I appreciate it's message of love. 

Urban Dictionary defines a gender bender as a person who seeks to define gender expression outside the binary terms of man and woman.  Despite the story line being  about three fantabulous gays, I definitely forgot mid way the gender roles that were long ingrained in my system. I only saw beautiful characters in a journey towards  love, peace and happiness. The show succeeded in using  happy tunes and colorful ostentatious  staging to communicate a very simple message. Each person is the same yet different.  Each person desires love peace and happiness. The roles people play to achieve what they desire may be different but the end point will always be a search for the same thing. For Tiki, it was a gravitation to fatherhood that gave him contentment. For Bernadette, it was acceptance of someone in her life that completed her. For Felicia, it was fun and friendship that showed her the way. I must say, I didn't get that same message when I watched the film years ago. This time, in the 4d experience that we call theatre, it was an emotional journey for me. 

The iconic Leo Valdez who played Tiki made me cry every single time he would make a reference to his son. He sang "Say A Little Prayer for Me" so beautifully, I wanted say Bravo in between gasps. ( Of course I didn't because that would have ruined the moment) His sensitive portrayal as a loving  father really made me so emotional. In the end, when he sang it with Guido, the little boy, my heart literally broke. This is what makes veterans like Leo Valdez special, they really take you to a place  the audience is familiar with. It makes people like me find a connection and relate to a story so different from my own reality. 

Jon Santos IS A WOMAN. I refuse to believe that he just played the character. He is all woman to me. His portrayal of Bernadette was spot on. It was even better than Patrick Swayze's movie version. The sophisticated swagger was uncanny. For the lack of better words to use, Jon Santos was brilliant. 

If I were to describe Red Concepcion's performance, I would use the words HOT, BEAUTIFUL, MESS. As Felicia, she sizzled with energy. He has such a good control over an audience. I've noticed that having watched him in several plays and musicals.  His range of movement is also very impressive. It was grande battemont, pivot turn and jazz hands.! Shaking your booty is one thing, it's another to sing and dance in stilletos con gusto. He was nothing but entertaining. 

People were raving about that catchy music that came along with the pink bus. I would have to agree. I really came to hear the big, booming,  pitch perfect voice of Bituin Escalante. She didn't disappoint.  Her performance reminds me of the Resorts Manila commercial where the  Girl can't stop shouting Bravo long after the show.  The singing was just so good, the audience couldn't stop themselves from singing a long.  She was a certified dream girl. So were the two girls who made up the trio. It's a pity I wasn't able to catch their names. They filled the air with damn good music. 

All the fun stripped my husband of all masculinity as he was in the end humming and trying not to sing along as the crowd sang  YMCA and a whole lot more of catchy tunes. I would say the ensemble did a great job in filling up the huge stage with fun. There was never a dim scene. 

It's true what they say, theatre imitates life. Sometimes, when the show is good, life imitates theatre. I was thankful I had the opportunity to witness a celebration of pure untarnished love  on stage. I definitely left a happier person. Thank you resorts world for sharing a bit of joy  with us.  Bravo. 

Photos from Resorts World Philippines