Quintessence, Ballet Philippines' A Gala Celebration

Ballet Philippines opened their season with quite an unremarkable show called "Your Highness"  at the Little Theater.  It was hardly a production  that would   mark the entrance of National Artist for Dance Ms. Alice Reyes as the new artistic director of the Company. "A Gala Celebration" which quickly followed was what fully reflected the changing of the guard. Last August 18, 2017, devoid of any frills Ms. Alice Reyes was officially introduced to the audience as the new leadership. A spotlight hovered over the filled up seats and  she stood up in the middle of the crowd nonchalantly. With a gentle smile and glassy eyes she went on to address the crowd with a speech that was certainly unexpected. As a founder of the Company I somehow expected her words  to be along the lines of tribute to the glory days, direction for the future  or this is Ballet Philippines now.  After all it is with much anticipation that people waited for her hands to once again  touch the company she built. In contrast, she went another way.  She chose to make her first public move a step towards gratitude.  Without further adieu she individually introduced the people sitting in her row. She acknowledged the work  of all other artistic directors  who have contributed  to the survival of Ballet Philippines. She highlighted that the show that we were about to see was a product of continuity and resilience. Her graciousness was heart warming and endearing. It was the that perfect touch that set the mood of excitement not only for the show but for Ballet Philippines' 48th Season labeled perfectly as QUINTESSENCE.  

Neo Classical Gems 

The mixed bill showed a wide range of genres from classical ballet, neo classical and modern pieces. The curtains rose to Ms. Reyes' "Bungkos Suite", a delightfully light  pursuit to give life to Filipino folk music. Just as it has in the past, the quick and easy ballet done on barefoot  played with the usual temperament of the Filipino, naughty and playful.There's  peculiar charm brought about the familiarity to the songs.   This was one of they lighter pieces of the evening. 

Former Artistic Director Bam Damian's " Minamahal, Sinasamba" is  also a tribute to original Filipino music. In contrast it played more on athleticism instead of dainty gracefulness. It dealt with different vignettes of love.  The piece is largely based on a vocabulary of highly technical partnering. Unexpected exciting lifts, turns and quick solos showed off the inspiring bravery of the young bloods performing the piece. The girls took on the tours and the men caught  them in mid air.   Tour je tes  that end in fish dives, classical finger turns  that go from pointe to fondue (bent knee on pointe)  were good twists  to the conventions of ballet. Gasps from the audience could be heard in regular intervals in appreciation for the the dramatics that occurred on stage. 

PHOTO BY JUSTIN BELLA ALONTE 

                           

Norman Walker's  "Summer's End" is one of the classics I have not seen  before. Without any tinge of expectation I loved the serenity of the piece.  Chopin's music was translated into an unpretentious romance. Real life lovers and principal dancers JM Cordero and Rita Winder impressed me with their flawless partnering. The choreography itself is beautiful but there is a noticeable tranquility as they executed partnered extensions. Their sequences seemed to always end up with a luxurious embrace and the fluidity was soothing to the eyes. More than their solid technique it was their openness to tell a story that was a refreshing. Both dancers who were set to leave right after the performances to their new career destination seemed committed to making their last performance something to be remembered. The end of a romance , the end of a journey was anything but bittersweet.

The Classics

Ballet Philippines made sure they included the classics. Victor Maguad and Jemima Reyes starred in the highly technical Grand Pas Classique. Maguad displayed his usual flexibility and Reyes gave her all to her difficult fouettes and turn combinations. Everything was good but this ballet to me is very static with no highs and lows. My appreciation is limited to how good the dancers are.  

Raymonda was more entertaining. Guest Principal Candice Adea led the pack with her movement imbued with  rich elan. Every bit the performer, she marked her steps soulfully. Despite her dreary mustard costume  she still came out  as the bejeweled star of Raymonda. There is much maturity in how she articulates her body and her emotions. Guest Artist Marcelino Libao who partnered her enjoyed his moments on stage .His commitment to style makes him unique. 

Modern Greats 

Krisbelle Mamangun gave life to Agnes Locsin's epic "Salome" This piece that has gained international recognition in the past still comes out strong after all these years. Deeply rooted to emotion a very mature dancer mesmerized me with her impeccable strength and control. Memorable is her slow as death hinge that leads to the floor.I loved how she rose from her split so effortlessly.  Her emotion is internal but visible in eyes. Mamangun is still very much a seasoned dancer. This piece and this dancer is always in my must watch list. 

Vision of fire is an acquired taste just because its pace  may not fit the "So You Think You Can Dance" progression. But my patience was rewarded because it projected a visual so strong  that it allowed me to have a few moments of escape. The movements were quite simple and the dancers had to hold poses for long periods of time while being lighted with rustic colors.  They eventually gather together and  create movements that resemble flickers of fire. Bodies jump like sparks until the whole stage is ablaze with engulfing power.  The flames go stronger and higher. The  repetitive steps, kicks and jumps all of a sudden look like a soothing fireplace rather than a crackling burning fire. The piece was so so engaging that it left me in awe.   I was in awe of the stamina of the cast.  I was  also very surprised to be stirred by such a ballet. It seemed abstract but the light to me was symbolic of hope. I try not to read souvenir programs prior to shows because I don't want to be influenced about the meanings of pieces. I actually didn't see what was written in the program but I stumbled on a telling post about Vision of Fire. Choreographer of the piece Edna Vida declared in a Facebook post that the meaning of her piece has  changed over time. It has gone from  a vague visual concept  to something quite personal and spiritual to her. "My piece is about finding God again! In these times of pronounced evil people are sensing Him in a collective spiritual renewal."I saw this after the show. While what I saw was hope instead of God, I did feel the same rejuvenation. It's a gift when a piece cloths audiences with feelings. I am grateful to have had that experience. 

Alin Alin Alin ang Naiba 

Included in the program are two pieces that do not belong to the Ballet Philippines repertoire archives. Filipino guest artist Marcelino Libao (Hamburg Ballet) brought to Manila John Neumeiers's "Spring and Fall". I feel lucky that this piece was shared to the audience just because it has a lot of history. The solo is actually in tribute of the famous dancer Nijinsky. This solo has generous amount of sweeping circular motions that portray euphoria. Libao was at his best in this piece as he has evidently acquired and embraced Neumeier's style. His massive range of movement to me looks like unadulterated freedom which is soothing to the eyes. 

Equanimity choreographed by Paul Ocampo and Wife Chien Ying is also not part of Ballet Philippines' history. The quirky duet performed by the choreographers themselves  that deals with the intricacies of marriage was cute. The pedestrian movement that alternated  with organic transfers of weight was interesting. Both dancers being senior artists their story telling showing nuances that added texture. 

Lastly there was Kun Yang Lin's dramatic "Moon" . Choreographically speaking, the piece capitalized on stillness. A combination of oriental flavor and western contemporary vocabulary, Moon  delivered an enigmatic dancer.  Victor Maguad sustained shapes gliding through the floor with promenades. In certain points he also  fluidly created shapes  with this ballet using his white skirt. Thoroughly enjoyable because of uniqueness, Moon was a huge success. 

Cohesiveness 

 "A Gala Celebration" shows a lot of merit. The restaging of all the pieces were on point. While the sets were deliberately  minimal, light compensated and beautifully framed the movement. There is much to celebrate.  It was  a good display of how rich the company is. My only issue was that of cohesiveness. At first the show was packaged to be a tribute to dancer  diaspora. Then it was a tribute to repertoire. However, there were pieces that were not created specifically for Ballet Philippines nor were they part of their history. Dancers who were leaving  and or celebrated surprisingly  had minimal parts.  There were featured  dancers who were also not a significant part of the Ballet Philippines journey. Collectively it did not leave a definite message  about what that show was really about. It did not quite deliver what it promised.  Much like a sentence without a period, it leaves you questioning the intentions. To me, it was simply a regular mixed bill performance. Nonetheless, I did enjoy its entertainment value.Diversity and strength are an artist's best friends and they were right there on stage  guiding the company's every move. This brings forward the reality of their season mantra quintessence.  I can see the effort of the dancers to please no less than the National Artist for Dance and the founder of their Company Ms. Alice Reyes.  Bravo Ballet Philippines. I can't wait to see the direction they will take as they  step nearer to the golden era. 

A few of my favorite moments from the show

International Star Martin Buczko and Veronica Atienza in PBT's Merry Widow

This performance marks the debut of Veronica Atienza in her first Principal role. She is partnered by international artist Martin Buczko who is both an dancer and a choreographer from Staatsballett Berlin.

Cast :

Count Danilo Danilovitsch (Pontevedrian Diplomat) : Martin Buczko

Hanna Glawari (wealthy Pontevedrian widow): Veronica Atienza

Baron Mirko Zeta (Pontevedrian Ambassador to France) : Anatoli Panasiukov

Valencienne (Baron Zeta's Wife): Regine Magbitang 

Camille Rosillion : Peter San Juan  

Njegus : Joel Matias

This performance marks the debut of Veronica Atienza in her first Principal role. She is partnered by international artist Martin Buczko who is both an dancer and a choreographer from Staatsballett Berlin.

Documenting Philippine Ballet Theatre's Newest Ballet: Merry Widow

Merry Widow  is a ballet  adaptation of a romantic opera created to match the music of  Franz Lehar. The original ballet was presented by the Australian Ballet in 1975 using the choreography of Ronald Hynd.   Inspired by his version of the  ballet, Artistic Director and resident choreographer Ronilo Jaynario decided to recreate the ballet for the Philippine audience. He re-imagined the story telling and injected a more contemporary spin to the ballet vocabulary.  While the original version in its original form already had a lot of entertainment value, he thought it best to put more mixy mischief into each of the scenes. 

Act 1 Anteroom in the Pontevedrian Embassy 

Act one begins with glaring theatrics establishing the characters. In the Pontevedrian Embassy the Baron Zeta,  Valencienne, Count Camille and Njegus  are in panic looking at the dwindling  amount of money for their city. Pontevedra is bankrupt. The group schemes and decides that a viable solution would be to match rich widow Hanna Glawari with Count Danilo so that money can be kept within the City. With much comical vulgarity Count Danilo enters and entertains with his drunken state. They cringe at the possibility  of disaster as they see the Count in a condition not fit to woe anybody. 

This scene closes with a glimpse of infidelity Camille and Valencienne  tease the audience with a quick pas de deux. It ends with  Njegus shocked when he sees a bit of the illicit affair and warns them of the repercussions.  

Act 1 Scene 2 The Ballroom in the Pontevedrian Embassy

The stage reveals a grand ballroom with guests. The Baron and Valencienne await the arrival of the merry widow.  She glamorously walks down the grand staircase and is quickly introduced to the elite males in the ball. She soon finds a familiar face. Count Danilo, her former lover who left her in tears was right in front of her. 










A flashback follows. Count Danilo recounts how he left his loved ones to follow  his family's wishes. Hanna was not in the same social class as him and therefore was not fit to be the wife of a future count. Hanna hasn't quite forgiven Count Danilo and jabs at him by choosing other gentlemen to dance the night away. Angered the Count does the same and a petty battle of jealousy begins. 

 

Act 2 The garden of Hanna's Villa the next evening

The following night Hanna gives a party in her villa. With traditional Pontevedrian clothing they engage in traditional dances. Hanna and Count Danilo are confronted with their history and begin to rekindle their old flame. 

Meanwhile, Camille and Valencienne no longer able to control their feelings for each other  spend intimate time in Hanna's pavilion. Njegus sees their passionate display. He also sees Count Danilo and Baron Zeta on their way to the pavilion . In his desperation he tells Hannah the situation and she indulges in his plan to conceal  the problem.  Hannah swiftly switches with Valencienne. When the Baron finally gets Njegus to open the door, Hannah is revealed.  Surprised Count Danilo is told that Camille and Hannah were newly engaged.  Confused and irritated the both the Count and Valencienne display quite a comical response to the madness. 

Act 3 Engagement Aftermath 

All the characters meet again in yet another social gathering.  Count Danilo threatens Camille and they engage in hilarious bickering sequences. The entertainment doesn't stop with them as the can can girls and the sophisticated waltzing women   bring some excitement for everyone. 

Eventually, Valencienne and Camille end up in each others arms. Soon enough they could no longer hide that  there is something between them. The sad truth is revealed and the Baron is heartbroken. He yields and forgives them.  Count Danilo finally understands the situation. Grateful that he still has another chance with the merry widow, he sweeps her off her feet and  professes her love. Jaynario ends the ballet with an imposing "They lived happily ever after,". 

Jaynario's approach  veers away from Merry Widow's old glamour feels but certainly retains the sophistication of the ballet. The narrative was clearly translated into movement. From the physicality of the theatrics to the artistry of the cast , the characterization was clear as day. The choreography glorifies the evident strength of his Company. Length and lavishness in the range of motion were the key elements that he played with. There were a lot of technical spectacles like fouettes dispatched with one hand on the voluminous skirt, pas de deux acrobatics, high impact extensions  etc. Of course not every scene is flawless there are redundancies within the ballet but it is certainly entertaining. It's nice to see  a show feature something other than what popular imagination on ballet is. A few refinements here and there and I reckon it will be one of those lasting  light productions  that people will look forward to seeing.

Cast :

Count Danilo Danilovitsch (Pontevedrian Diplomat) : Martin Buczko

Hanna Glawari (wealthy Pontevedrian widow): Kim Abrogena 

Baron Mirko Zeta (Pontevedrian Ambassador to France) : Anatoli Panasiukov

Valencienne (Baron Zeta's Wife): Lobreza Pimentel 

Camille Rosillion : Peter San Juan  

Njegus : Joel Matias