CCP's Golden Roadmap for Dance

The Cultural Center of the Philippines opened its doors back in Sept 8, 1969 enveloped with so much political and social drama. As part of its birth pains, there was death, financial loss, political unrest and international interest making its establishment a highlight in the nation's history. Despite its unsteady beginning, it successfully set the pillars of cultural cultivation. Grim, ashen, bloodstained grounds, stood as the nation's primary vehicle for preserving national identity and providing opportunities for art to evolve. Thankfully despite everything, their fifty year of pursuit of art has been quite a burst of color. CCP at fifty is now fronting their new vision for the future, an even larger display of radiant color. Vice President and Artistic Director Chris Millado confidently said that the CCP has and will continue to evolve until "Art matters to every Filipino". After extensive planning, we are now about to witness CCP's golden roadmap to achieve this through their three fold plan. First they want to showcase the Filipinos' excellence in the arts. Second they want to further this level of artistry through access to global partnership and leadership activities. Third, they want to broaden the reach of the arts in the Philippines. All these are consistent with their national role. It touches on art's past, present and future. CCP has come up with a list of twenty one major activities specifically in celebration of the fiftieth year in addition to all their current programs. (See List Below) 

I am particularly interested on how it will impact the dance community. What's in it for dance? I've rounded up a list of activities that involve major dance players. Here's their gameplan:

Exemplifying excellence in the arts

1. The CCP Encylopedia featuring a whole volume about dance artists and dance history is now available for purchase. While this is not an activity it is a milestone because only a handful now write and document moments about dance.
2. CCP Videomapping and Live Performances will be held at the front ramp of the CCP. It is expected to run for four to eight weeks and is expected to showcase a little bit of everything in the visual arts.
3. An Anniversary Gala will be held in September 2019. It is inferred that the the CCP resident companies will be participating. (Ballet Philippines, Philippine Ballet Theatre, Ramon Obusan Folkloric, Bayanihan).
4. CCP Resident Companies will have a National Tour. (Ballet Philippines, Philippine Ballet Theatre, Ramon Obusan Folkloric, Bayanihan). Regional areas will be able to get a glimpse of CCP's treasured talent pool.

Partnering for leadership in the arts

1. Ballet Philippines will end their season with Romeo and Juliet with guest artist Joseph Gatti as Romeo. Furthermore CCP Chairman Margie Moran has announced that Ballet Philippines is working on a collaboration with "Kirov Artists".
2. CCP will be hosting for the first time the Philippine Performing Arts Market. This gathering presents the opportunity to network. Artists can showcase and market their artworks, or season performances. Aside from this they can be presented collaboration opportunities.

Broadening the reach of the arts

1. Pasinaya scheduled this February has been extended to three days. It will include a workshop day, a regional showcase day and a Metro Manila showcase day. As always this includes the CCP resident companies (Ballet Philippines, Philippine Ballet Theatre, Ramon Obusan Folkloric, Bayanihan) as well as a few chosen dance schools and dance companies. Everything is free of charge.
2. CCP Libre will be launched. This simply means CCP will offer fifty shows for free within the anniversary year. It is again inferred that this includes dance as one of its major components.
3. Siningkwenta will also be launched. This means some show tickets will be priced at Php50 pesos. Hopefully there are dance related shows applicable to this.

Why not ask for more?

For dance alone, that's quite a line up. I'm very hopeful that these efforts will cause a ripple effect awakening about dance. There is a huge market to convert, develop and maintain. But it doesn't hurt to hope for more right? You never know, the universe might just grant it.

Contemporary dance was not included in the golden anniversary plans. There is no specific program to bring them in the regionals. Of course the CCP Choreographers triple show season will still exist in 2019 but I had hoped that contemporary dance would be legitimized more through a specific project. When asked why this was so, Mr. Millado answered they are still waiting for the CCP Choreographers project to mature a little bit more before breaking new ground. It would have been really exciting if some spice was added to the CCP Choreographers Series. It is after all one of the best developments for dance.

I was hoping that in celebration of the fiftieth Anniversary that both Philippine Ballet Theatre and Ballet Philippines would be given financial support to create an original Filipino ballet. While I know both companies are scheduled to tour and perform existing nationalistic gems from their repertoire, it would be nice to close the fifty year journey with something old and something new. 

I was thinking in celebration of the fiftieth anniversary, special international scholarships can be given away. Nowadays people join competitions to get a chance to get scholarships abroad. Not everyone can afford to participate in competitions. It would have been awesome if CCP gave out international exchange opportunities to dance practitioners via layered auditions. Most resident companies have scholars but not all have the ability to sponsor international exposure. With that in mind, artistic directors of resident companies need to continuously learn and explore too. International exchanges for the leadership is also something I find very productive and encouraging of the arts.

The celebration of International Dance Day in the Philippines has been dreary for the last couple of years. I distinctly remember that during my childhood, the CCP would hold the most extravagant IDDs at the CCP Main Theater. It went beyond just a gala of Philippine Artists. Every year a major dance company from the international scene would make its way to CCP. It was always an inspiring event that people looked forward to. As a dancer I also remember performing numerous shows for International Dance Day in the regionals. These days, it is celebrated on a much smaller scale (except when it was sponsored by Ballet Manila and NCCA in 2015 and 2016). Perhaps we can relive the glory days?

Going golden

Despite my wish list, I maintain there's a lot of good things to look forward to for dance in CCP's golden year. While I continue to hope for more, I recognize that amount of effort it has taken for CCP to create a road map that almost secures a reintroduction of our culture to the Filipino people. Bravo to the people behind  the fifty roller coaster years. Bravo also to the current people at the helm who work to the bone so that a legacy of resilience can continue. From gray to colorful, I can't wait to see it golden. I wish them luck as they tread into their road map of hope.

See you all at the theatre?!

Candice Adea's Second Wind

Candice Adea in Raymonda by Ballet Philippines 

Candice Adea is a household name in ballet. After having surpassed the achievement of many dancers before her with a lustrous career peppered with awards, recognition and international experience, she now belongs to the ballet elite in the Philippines. After a short hiatus from the international scene, she accepted a First soloist contract from West Australian Ballet back in June 2018. She is currently ranked third in the female dancers as the only First soloist in the company. She is the first Filipina to ever join this sixty six year old multi-nationality state ballet company. She jumped into the Company's season mid way through preparations for Dracula and immediately she was made to understudy the lead role for future restagings of the production. Nutcracker is her first taste of being part of the creative process of West Australian Ballet. All things seem to be looking good as she was casted in so many roles. Adea bravely took on multiple roles including the titular role of Clara and Sugar Plum Fairy , Snow Queen and Chinese Ballerina in the Land of the Sweets. This casting decision signals a positive start with the Company. Filipinos who were able to witness her performance as Sugar Plum have described her as a dancer "at her peak" showing a special kind of sparkle in her eyes dancing with her new  family. Her comeback in the international scene seems solid and her outlook about the future is refreshingly positive. She is heavily missed by her following in Manila but her success in Australia is surely inspiring a lot of ballerina dreamers witnessing her story unfold. May people recognize her giant leap and see her glorious second wind bring her forward.

Here's a closer look at her Nutcracker experience. All photos courtesy of Candice Adea.

                     

                 

  

 

 Her West Australian Ballet reads  Click Link West Australian Ballet Dancer Candice Adea

Candice Adea was the first Filipina to win at the Helsinki International Ballet Competition taking 1st Place, Senior Women’s Division in 2012 and won a Silver Medal at the USA International Ballet Competition in the Senior Women’s Division in 2010.

Adding more achievements to her name, she was awarded by Gawad Buhay as Outstanding Female Lead Performer twice for her work in Amada (2009) and September Gala (2010), as well as two special awards at the Boston International Ballet Competition in 2011—the Maris Liepa Award for Outstanding Artistry and Lead Role in a Russian Ballet performance.

Candice was trained in the Philippines at the CCP Dance School, the Philippine High School for the Arts, and earned her Bachelor of Arts Degree Major in Dance, from De La Salle—College of Saint Benilde.

Candice has previously been Principal Dancer and Resident Guest Artist for Ballet Philippines, Soloist for Hong Kong Ballet and joined West Australian Ballet in July 2018.

WIFIBody.ph 2018; Creatures Vs Caricatures

Two years ago, I witnessed the 10th year anniversary of the WIFI which originally was a multi-faceted festival celebrating contemporary dance. In 2016 it was a simplified and straightforward competition that left me in awe. Despite the fact that it did not have its usual frills, it achieved its original purpose which was to broaden the concept of contemporary. The vocabulary was expansive and the articulation varied. I was ecstatic that the template of the previous seasons were blurred allowing audiences to see what contemporary really means. It was a collectively strong representation of the genre. While so many dance icons have defined contemporary dance, the common denominator is that it is an art that is not contained in a particular shape, theme or medium. At the same time, dance is still an exploration of movement. In the past, I would be disappointed that people replaced the action word with bad acting or even worse something that served only as shock factor. Last season's showing was  a fitting representation of how far the Philippines has come.

That being said, I had high hopes for this season's new breed of young choreographers.I was eager to find out if the momentum was sustained. Thankfully, I had my fill of good performances from both the competitors and the previous winners. Honestly I did not love everything I saw.  There were still a few remnants of the past. However the point of WIFI is not to please audiences like me (It is impossible to please everyone anyway.) The point of WIFI is for contemporary thought to prevail. In this sense, this season just like the previous one moved a step forward. In this year's WIFI, the range of movement or technique for that matter was generally lacking but the conceptual approach of all the choreographers were very impressive. The story telling was not generic. The nuances of the pieces created space for audiences to have fun interpreting the pieces in accordance to their own set of beliefs. In a nutshell, the pieces were alive colored with meticulously planned emotions and references that audiences can relate to. The standard has been set.

Winning the top prize of this year's competition is Raul "Buboy" Raquitico Jr. His piece "Transacting Comfort" was indeed superior to all the other intelligent pieces. He explored the concept of materialism as an addiction and distracting social phenomenon. He himself performed the "body" with dancer Jan Lloyd Celecio as the measure of comfort. Raquitico appeared in the corner with his bare body hunched over. Celecio who was in black  in static movements moved towards him revealing a tape measure. In a gentle pas de deux exchange they measured each other. Celecio initiating and Raquitico responding. Celecio dressed Raquitico with a skirt but instinctively Raquitico rejected it. Eventually he obliged and wore the skirt until they danced together with the same  breath. Raquitico acclimatized with the presence of Celecio just like a person relies on temporary comforts. He leaned on him, hovered over him, was lifted by him as if he was as necessary as air. However in the end of the piece he returned to being himself, looking at his comforts as a complex creation that was completely unnecessary. He looked at  Celecio, his self created monster with the measurements that he thought were sound. In the end, he allowed himself to walk away and Celecio wrapped in tape measure stood there stoically as if his life was thinning out. In solid dramatics, the light dimmed and the tape measure unraveled out of his body with a shrieking sound dancing with the light until complete darkness came. Worthy of recognition was how Raquitico translated such an internal complex concept of mental duality into something very easy understand. The strategic use of props was a winning idea. His calm fluid combinations were  very appropriate in depicting his  train of thought. Also noteworthy is his use of space.  His patterns allowed the audience to  really understand the concept of measuring comfort. "Transacting Comfort" was inventive, powerful and engaging.

Second place was won by Jovie Ann Domingo for her piece "Walk Without Pain". Panel judge Tatsuro Ishii said it best when he described this piece as more of a theatrical unfolding rather than a dance performance. He mentioned that the strength of this piece was that it was communicative and emotive. Domingo explored the concept of death with the image of a loved one lingering even as time passed by. In the performance it was unclear to me who was dead and who was alive as they stepped in and out of their respective realms. Dancer Beauty Balaga was in a chair and  Ralph Malaque sat in a table. Both executed corporeal movements imitating an unremarkable day made remarkable by lingering memories. They eventually gravitated  in the same space and they performed a struggle to let go.

Third place went to "Namoka" a piece created by Sasa Cabalquinto. In the program it says  it is an exploration of  the individual self. The choreographer performed it herself. She appeared  dressed in layers and would play out a different emotion as she  took off layers of her costume. While her piece very clearly states it is about a single individual, my take of the piece is a bit different. I would have to refer to the iconic answer of Ms. Universe Sushmita Sen, "Just being a woman is God's gift that all of us must appreciate. The origin of a child is a mother, and is a woman. She shows a man what sharing, caring and loving is all about. That is the essence of a woman.". In blunt imagery  the piece depicted the different roles that women in the world have had to take. In sections of her piece she is seen lost, suffering, wanting, crying. In the more powerful moments when she starts undressing, she shows the image of a nurturing mother. She ends the piece with undressed but commanding. The piece to me is about empowered women.

With the competition ending, the festival director Myra Beltran presented with pride the works of the previous season winners.She was hopeful that the  performances would show maturity and depth after all the gifts they have received as a result of their win two years ago.

Beauty Balaga's new piece "Opinion is like and Asshole Everyone Has It" was quite a departure from her previous choreography. In a monotonous manner,  the dancers came in and followed a straight line  opening their mouths as if they were receiving communion  or giving confession to a cult pastor in an unthinking manner. They congregated and sat in chairs where they moved in unison as a one body. A girl entered  and spoke in sign language and everybody started talking randomly about her.  She went  to them and was  moved by the people without touching her. When she finally ascended they followed her moving around her as she stepped in and out of a chair. Nobody really bothered to save her from falling.  At the end of the piece the girl spoke in sign language again but this time beside a girl with red balloons. The balloons burst one by one. Each time it did, a cult member fell down. At the end, the girl left with immobile  bodies on the floor. To be honest I thought that the piece would have been more powerful with more technique in the execution. The dancers made up however with a very soulful theatrical interpretation. The storyline was all to too relatable. It clearly explained the indifference of people to  the adverse of effect of not sincerely caring about issues.  It was a very cutting emphasis that people care more about the story than the person.The girl was speaking in sign language, nobody understood it but dancers articulated their judgement. She went about them and they followed her story but nobody lifted a finger in actually being there for her. They actually let her fall. They just all reveled in their opinions. What was important was that they were spectators of a story. In the end the balloons signified  that opinions have the capacity to hurt one or more individuals if they are not shaped with the right intentions. Balaga's approach to choreography has definitely evolved. Clearly, she is now more motivated into incorporating communal interaction rather than a straightforward delivery. I view it positively because her point of view is expanding. 

Christopher Chan presented "H2 +1". He showed off his signature movement combining held yogic poses and calculated breaths and explosive dramatics. He incorporated a mix of foreign chatter which I'm sure is a thread of poetic thought. While I appreciated the performance greatly for his abilities I honestly did not understand any of it. I do not discount the art but I did want something new from him.

Michael Barry Que's piece is one that I would like to see in a bigger stage. I have to make mention that his casting was quite strategic with some of the best contemporary dancers casted. The mesh of dance experience and innovative spirit was a good mix, something old and something new. Que's set consisted of a clothes line with hangers with black suits. A dancers wears the suit and a few more follow. With much intensity they form an ensemble who dance fiercely  interacting in pairs, in groups and sometimes in dancing in quick solitary moments. Together they dance the life of adults. Adulting forces them to contain their individuality in favor of responsibility complying with the demands of society. The hangers remained in the set as a constant reminder  that they must be clothed with responsibility. At a certain point all of the dancers take out one by one their black coats except for soloist Al Garcia They remained colorless in white. Garcia is then thrust into a web of white with everyone threading their arms and legs  creating a webs of beautiful images. Garcia's coat is discarded but continues to dance but he does so with limited freedom. He conforms to the white movement. For me the message of the piece was brilliantly delivered  with a series of  rich memorable imagery. Clear as day was the depiction of how adulting dulls lives with the requirement to conform, deliver and succeed. Adulting doesn't end with what society expects, that is just one layer of expectations. Even in your intimate lives there will be other layers demanding  a person to conform, deliver and succeed. Perhaps it could come from family, friends, mentors. What is nice about this piece is that it doesn't force a conclusion. It doesn't necessarily portray the extremes of happiness or angst instead it delivers the state of being.  For me as an audience, it allowed me to commiserate and I guess think about my own layers. I believe Que is on the verge of unraveling his own layers.

The WIFI Body Competition was meant to be a platform to explore thought and movement in a contemporary manner. The noticeable shift of perspective from creating caricatures to representing actual creatures of God is such a big step forward. The growth of the previous winners is also a big contribution to the dance world. In closing, I encourage all creators to revel in this step forward. Opportunities like the Wifi should be more than just a stepping stone. It should be  a moment that helps you decide whether you are an artist or not. The dance world can be cruel. Obstacles and noise will always be there to pull you back. The lack of equal opportunities is also very discouraging. Not everyone will like the works as well. I can only hope that breakthroughs like this remind  the artists that to be able to create is a gift in itself. To be able to better yourself is a blessing. But the ultimate reward would be to share it with another human being filling them with a chance to think, imagine and be captivated for a moment in time. May the fight for art be won everyday.

Battle or Celebration of the Mixed Bill Program

Season of Flight Choreographed by Norman Walker
Photo by Jojo Mamangun 

Ballet Manila and Ballet Philippines will be sharing this weekend as they open their ballet seasons. Both will be presenting mixed bill programs that commemorate their past. It's a joint throwback.

Iconic 2.0 is the second installation of their iconic trip to memory lane. Featured are the works of local choreographers such as Gerardo Francisco (Ibong Adarna), Osias  Barosso (Ecole), Eric Cruz (Carmen), Lisa Macuja (Fur Elise) and Bam Damian III (El Adwa). Included in the program are the contributions of Martin Lawrence and Simon Hoy. Except for a few, these are major pieces that are familiar to the ballet community because they are often performed by the company. However what would be interesting to see is the debut of the new cast assuming the lead spots in these pieces. Take for example Jasmine Pia Dames performing in Bam Damian's El Adwa and Abigail Oliveiro performing Eric Cruz's Carmen. It's a reintroduction of who the new front liners are for the Company. It is a baptism of sorts that makes me giddy.

Abigail Oliveiro in Eric Cruz' Carmen
Photo by Gnie Arambulo 

Jasmine Pia Dames in El Adwa 

Ballet Philippines on the other hand continues their grand retrospective leading up to their golden anniversary. With the exception of one new piece "Sama Sama" by up and coming choreographer Ronelson Yadao, their season opener is a collection of pieces from the 1970s to early 1980s. Featured choreographers include Brando Miranda (Vivaldi Concerto), Norman Walker (Seasons of Flight) and of course National Artist for Dance Alice Reyes (Carmina Burana). These pieces are quite new to the eye for the newer generations. It is in a way a tribute to neo-classicism as they generally explore the ballet vocabulary in a stylized manner of story telling. Another good reason to watch this show is to see how the Company will utilize their fresh delivery of dancers. Joining the Company this season is Stephanie Santiago, AL Abraham and Earl John Arisola. Santiago is a homegrown talent of ACTS Manila who recently finished her schooling in Joffrey Ballet. AL Abraham is a skilled contemporary artist from UP Dance Company. Earl Arisola was a former soloist for the Company. It's interesting to see how they will contribute to Ballet Philippines' movement.

Carmina Burana
Photo by Jojo Mamangun 

With such a mix of pieces, surely there will be one that audiences will love. There will always be a reason to go to the theater and see our local ballet companies perform. Take your pick or watch both and come home with the satisfaction that you have been part of their journey. See you at the theatre.

Eto na! Musikal nAPO, Nostalgia with a Purpose

Eto Na! Musikal nAPO opened last weekend with rave reviews. It was packaged efficiently as a fun loving musical featuring the timeless music of the APO Hiking Society but it happens to be more than that.  Minutes after seeing the press preview, I was  reminded  of a quote I randomly saw in Facebook. I googled  the words  "softness and strength"   because it was just the perfect set of words to describe this musical's overall message. It goes, " Be soft for the sake of every hard heart; show them with every movement  of your body  that gentle does not mean weak". This musical's walls were built  on laughter and it's spaces were filled with   catchy music  and delightful dancing. Every nook and corner was filled with cheeky mementos of the mid-seventies. It honestly had all the potential to simply be an enjoyable  but irrelevant fluff piece. Thankfully,  their house of theater  made good use of the lightness of being and sent out SEVERAL important uplifting messages. In the process of doing so they also succeeded in re-inscribing history, culture and politics. There are musicals that are sung in Filipino and then there are musicals  that carve out an identity for the Filipino.  Who would have thought that jokes  and good old APO music could be so important?! This musical just proves that art in its vulnerability is still certainly powerful  and so is every Juan De La Cruz. Needless to say, the collaboration between Nineworks Theatrical and Globe Live was a big win for theater and a big win for the Filipino. 

The story revolves around seven friends who share the love for music. Set in the seventies during the on-set of Martial Law, a group of friends discovered who they all wanted to be when they set out on a journey. All seven committed to joining a song writing and singing competition. The group was bonded but they were in  way divided in two groups, the naturals and the follower.  Sonny (Alfritze Blanche) was  the talented composer  of the group. Rick ( Mark Bautista) their go to guy for lyrics.  Ray (Jon Philippe Go) was the young but skilled musical arranger of the group. Butch (Jobim Javier) was the sweet singing  playboy. Then there were the witty and supportive followers  tongue tied mover  Fil-Am Javier( Jeff Flores),  small but terrible Bobby (Vyen Villanueva) and secret lyricist Donnie (Jon Abella).  Their journey to the competition was disturbed by the love predicaments of the naturals.They were also left scarred by an unfortunate incident caused by  by Martial Law.  At the end of this musical, the competing group was left with the followers pursuing their  goal driven by a new purpose.  They found themselves writing their own song challenging  what they thought was uneccaptable norms. They won. All if a sudden they had a platform to share with others their music through TV. In the end, the trio was left with the realization that fear was unnecessary. Their  song won because people believed in their message and in their music. They were not alone. They were no longer followers but leaders in their own right.  

Message Received 

What is nice about the story that  Robbie Guevara and Jon Jon Martin crafted is that it highlights the underdogs as the last men standing. There was a point in the story where Javier, Bobby and Donnie question  if they could still win  with their strongest members out. Javier states, we have a purpose and that's all we need to succeed. In the play, political unrest was troubling but the three with purity of heart braved it out and sang about  their distaste for current social and political landscape. Their youth or skills were no longer something that could hold them back because the opportunity was there to rise up and they grabbed it.   It's a beautiful message to share. There are no little guys only little dreams.

Batang Bata ako nalalaman ko to
Inamin ko rin na kulang ang aking nalalaman
Ngunit kahit ganayan and kinalalagyan alam ko
na may karapatan ang bwat nilalang
kahit bata pa man kahit bata bpa man. 

Throughout the play, the cast would always blurt out "Bawal Magmura". Each time there would be small reminder that things could be said a better way, things could be done a kinder way. I love that very slight hint of how vulgarity was unacceptable then and certainly it should be unacceptable now. It was a purposeful reminder done in such a witty way. I appreciate the unapologetic opinion against Martial Law as well. 

Another point that was well taken was that there is a need to look back at the past. The past should be relished, enjoyed understood and protected. In the beginning the gang cleverly starts with the first song being "Lumang Tugtugin" (Old Songs) bringing back tunes like "Leron Leron Sinta". It appropriately grounded and prepared the audience for the throwback to APO's own music. It's a reminder that we should never forget traces of who we are. 

Throwback Thursday

Perfectly timed on a Thursday, the musical was filled with nostalgia.  Eliciting laughter was the constant references to how Manila used to be back in the seventies.  It was  a  adorable poke at the primitive past with telephone booths, love buses and partylines.  Surely familiarity made it a hit  for audiences of that generation. At the same time the throwback in contrast to present  ridiculously complicated times was quite funny too. The witty references were almost like a meticulous education  of social climate of that time.  It was very intelligently  written and the relatability factor was  on point. Everything was easy to digest. 

Arteculation 

The homage to the APO Original Pinoy Music was exemplary .Thanks to Daniel Bartolome ( Musical Director) the  songs' melodies were not overpowered by the changes made to adapt to a theatrical staging. Songs were seemlesly incorporated into the story. Some of the songs were sung in a different perspective and context. It refreshing to witness something new. More importantly it highlighted  the universality of APO's music. Collectively,  cast was committed to singing the songs harmoniously. There were however undeniable standouts. Newbie Jobim Javier nailed all of his songs with gusto. For a newbie in theatre, there was absolutely no trace of hesitation or self-doubt in his performance.  His comical timing, suave physicality and strong voice really gave life to his character "Butch". Watching him approach theater with so much joy and energy was exhilarating. The Sonny and Jane tandem played by Afritze Blanch and Marika Sasaki was too cute for words. The chemistry was believable and their contrast hilarious. Blanch was the ultimate leading man. Sasaki fit the doe-eyed loyal girlfriend to a tee. Their duet "Show me a Smile" made me smile.   Jeff Flores was adorable as Javier. I would think it was a breeze for him as the  role was  almost tailor made to his reality. Energetic funny singer who came from the states who speaks tongue twisting Tagalog, easily Jeff Flores. The most memorable scene for me was not from the cast leads but from Raul Montesa who plays  the father of Ray. He sang the song "Pag-ibig" with so much authenticity that it broke me. Truly I was inconsolable  for a couple of minutes.  This is the first time I have seen Montesa perform in a tagalog musical and I was beyond impressed by his capacity to silence an audience with his powerful facility. What a gift to see this man perform in his native tongue.

Alfritz Blanche as Sonny and Marika Sasaki as Jane 

Jobim Javier as Butch 

I wouldn't say the musical was  perfection personified but it was nostalgia done well and with purpose. A little refinement in scene transitions, a little polishing in the group scenes and maybe a bit more light in some group scenes  would be advantageous. As it is, the musical was light and entertaining yet relevant and absolutely timely. It seems Nineworks Theatrical and Globe live wanted to emulate the spirit of APO Hiking society. Their updated KKK outlook was replaced by the producers' CCC. They were creative, collaborative and courageous. Bravissimo. Thank you for choosing to use gentle,soft heartwarming  art for a greater purpose. 

Catch Eto na! Musikal nAPO! at the Maybank Performing Arts Theater from August 3 to 26, 2018. Tickets sell at Php 1,500 (Zone D), Php 2,200 (Zone C), Php 3,000 (Zone B), and Php 3,500 (Zone A) and may be purchased from Ticketword at 891-9999.

Lia Cirio Makes Her Entrance

To live the life of a dancer would be to commit to the unending cycle of entrances and exits. It is the acceptance that the conventions of ballet would demand a routinary sequence of preparation, performance and moving forward to the next level. Each entrance you make whether it is the studio to rehearse or a stage to perform in determines who you are and who you will be as an artist. It gives you a glimpse of how you will exit the world of dance.The cycle is mandatory is fulfilling itself but success is never a certainty For a non-dancer the uncertainty of it all and the amount of sacrifice it requires seems inequitable.  But then again, once in awhile success stories of people remind us that the  roads less traveled could sometimes give a lifetime of blessings. Filipino-American Lia Cirio's ballet career is a glorified example of how this potentially frustrating life could turn out to be a tale filled with happy ever afters.

Cirio is currently one of Boston Ballet's Principal Dancers. While the globe is filled with Filipinos making a name for themselves in the field of dance, Cirio is one of the few who have attained the highest rank possible in a high profile company. She has even been hailed as "one of the most accomplished actress-dancers in Boston Ballet" by the Patriot Ledgers. Looking at her roots, her journey seems to have been easy peasy lemon squeezy. At sixteen she was awarded a Level One award from the Advancement of the arts and was Presidential Scholar in the Arts Finalist. In the same year she was given an apprenticeship in Boston Ballet. She went from apprentice to corps de ballet and then soloist in a very short time. At 24 she was named Principal Dancer. This olive skinned medium-sized Asian girl with broad shoulders managed to quickly inch her way to the top despite the hundreds or thousands of statuesque pristine ballerinas crowding her way. At 29, she leveled up and created, along with her brother Jeffrey, Cirio Collective. This company is one that is committed to artistic cross collaboration. She now manages it in the capacity of Associate Artistic Director. At 32 she is about to explore choreography for Boston Ballet and will premiere her first work sometime in November. With a timeline like that, one would assume there was a fairy godmother working overtime to help her perfect each plie and tendu. At a time where racism has taken a new life form, Cirio seems to have been sheltered by a magical force field. Talking to this ballerina and seeing her move on stage however grounded me back to reality. Cirio is unscathed and continues to progress  not by any  miracle but because she is  a force to be reckoned with. 

Cirio was flown in by Ballet Manila to star in their American Ballet Stars Gala. This is her very first time to see the Philippines, meet her relatives and perform for her countrymen. I went inside the dressing room expecting to meet a very straightforward cutthroat type of over achiever. Instead I met a bright eyed "familiar" face who immediately reached for a hug. She had a warmth in her eyes that easily put me at ease. She also had that infectious electric energy that made you feel her inner strength. It's quite uncanny because she was very excited about getting to know her heritage but in an instant she exuded the typical Filipino charm. 

When asked about her journey as a Filipino-American artist, she confirmed that just like any successful artist, she had gone through the mandatory aches and pains. It was not without sacrifices that she got this far. With evident intensity, she shared her gratitude for her family who was the driving force of her success. She mentioned all the teachers that believed in her as instrumental in her journey. 





When asked if she thought her being Filipino was in any way a deterrent, she explained the sensitivities she encountered. Growing up she says she never felt she was different. She was lucky enough to be discovered and nurtured by a company who believed fiercely in the power of diversity.  Boston Ballet's leadership has always been focused on simply the art of dancing. With a very open-minded company she never really experienced any discrimination. However when she started getting principal roles she did have to deal with the expectations and standards of the audiences. A woman of color getting roles usually reserved for  the stereotype of fair skinned dancers is an issue for some. This she overcame by giving the roles a flavor incomparable to anybody. It was a conscious effort to give and give more of herself so that they would enjoy her as an artist and blur the lines of color. While she recognizes this as a sacrifice, she is not burdened by it knowing she is paving the way for more Asian women to follow her lead. Now at the peak of her career, she is focused not on getting the accolades but more intent on the amount of art  and inspiration she can  share with others.

Cirio honestly declared that she feels there is much to be discovered about her Filipino roots. Beyond pancit, adobo and Filipino holidays she isn't quite sure what exactly is distinctly Filipino about her. She was ecstatic at the prospect of coming here and interacting with the locals and discovering the persona she (willingly or unwillingly) represents in a global scale. She was already floored with her simple encounters with prima ballerina Lisa Macuja and the Ballet Manila Dancers. She reckons the  complete experience will build her up as both a dancer and a person.

As a dancer, Cirio has been commended for her boldness, sophistication and athletic pliability. Her physique fits the profile of a bravura dancer or a neo-classical ballerina. When she said she was doing swan lake for the gala I assumed she was doing the black swan grand pas de deux. In rehearsals, she surprised me with her white swan transformation.  In a role I would not associate with her, she had me mesmerized. Watching her articulate the ethereal swan was quite an experience. When we were talking about her art she said that her only goal was the pursuit of finding herself in every role that she takes on. Bit by bit she wanted to unravel her soul by finding the feeling in her steps. As I was watching her give breath to her every movement, I felt the sincerity in her words. She  humanized the role of the white swan, pouring out visibly all the emotion she could muster. She was not simply the soft ethereal creature that needed saving. She was a feathery swan in movement but her flow and expression was punctuated by the boldness inside her. Her dancing was full bodied yet sensitive. It was nice to see her brand of uniqueness. Filipino pride swelled up inside my heart knowing the rest of the world have seen this girl shine under the spotlight.

Beyond her dancing duties for Boston Ballet, Cirio is busy with Cirio Collective. With her brother Jeffrey Cirio of American Ballet Theater, they  plan out their season while they are performing in their respective companies. During their off season, Cirio Collective launches into the creative process of choreography and rehearsals. The Company is now on its fourth season and she looks back at the new pieces that they have done fondly. In their fifth season, they will attempt produce choreographers from within the group. This exchange will definitely allow the dancers to understand the roles of both the choreographer and dancer more and will surely transform the people involved.   The Company  provides a safe space for artists to go deeper into their art by means of interaction.  She looks at this project not just as a performing group but an advocacy project for dance artists. She also looks forward to the possibility of bringing her company here in the Philippines through the generosity of Ballet Manila. 

After my encounter with Lia Cirio,I realized that she is the personification of a typical ballerina- hardworking, dedicated, humble. She is living proof that the ballerina mandate can take you far. But frankly, I believe what has helped her achieve what she has in such a fast pace was her giving spirit. With every entrance she makes she delivers with the intent to give back and that's why her every exit is a satisfying end and beautiful beginning.  Throughout her journey, she would gather all the energy, lessons, support that she received and deliver performances with optimum gratitude. Filled with loyalty for the people who have been part of her journey, she finds different ways to give back through her dancing. Her visit here in Manila was the perfect example. She came  excited to perform for a crowd she's never met knowing they have supported her from a distance. She came wanting to inspire them beyond entertainment. That giving spirit is what makes her a progressive, evolving and sincere artist. It's what makes her a true example of an empowered modern woman worthy of emulation. While her visit was brief, I reckon she left a trail of happiness in inspiration with the local dance community. May this lovely woman make her way back to the Philippines very soon so we can all relish her art and her spirit.