Sharing an interview that I did last May 15, 2022 for Open for Business. Indeed the Philippines is Open for Business. The dancers are ready to share their art . Years from now, I will watch this interview with a different set of eyes. Hopefully, I would be able to say the words " Never again will we be punctured . The curtains will always rise"
WATCH: Open For Business | Sunday | May 15, 2022 | 9:00PMhttps://www.youtube.com/watch?v=V4RGVlIXIxA
Republished article ... Original release can be seen in this link http://theaterfansmanila.com/review-ballet-manilas-don-quixote-is-an-electrifying-win/
Amidst the threat of horrible rain, Ballet Manila (BM) gathered the city’s balletomanes to show them their feel-good Don Quixote last May 27, 2023. Ballet Manila’s Don Quixote delivered an electrifying win to a thrilled audience.
To dream the impossible dream
Don Quixote’s story has always revolved around the beautiful transformational quality of dreams. Much like this central theme, it has allowed Ballet Manila to once again dream the impossible dream and wake up to a beautiful reality. The company has always staged full-length ballets with a massive fleet of dancers. With half the number of performers, BM dared to dream and staged Don Quixote with resourcefulness and creativity. Just like any dreamer, they won big applause and admiration.
Dancing to the sprightly music of Ludwig Minkus, the love story of Kitri and Basilio was told. The curtains opened, revealing a statuesque man infatuated with his books of love and chivalry. With his reality blurred by dreams, he voyages as a knight-errant looking for his love, Dulcinea. In his pursuit, he meets the characters whose lives he would change. The innkeeper’s daughter Kitri and the town barber Basilio are in love and Kitri’s father would not have it. The ballet then unfolds its comical side when Gamache, a rich gentleman, sets his eyes on Kitri to the delight of Kitri’s father. Their fight to stay together fills in three acts with thrilling technical proficiency and high dramatics. In the end, Don Quixote is instrumental in carving out a happy ending.
Performing from a place of comfort
Hernandez being a Latino, showed an organic Spanish flair. He appeared comfortably playful and mischievous. Hernandez is a principal dancer of the San Francisco ballet. As a seasoned professional, he displayed quality technique with clean pirouettes, ala seconde turns, and tours. However, it was a bit disappointing not to see one or two unconventional tricks in the first acts. He made up for it in the third act with five pirouettes (turns), strong elongated coupe' jete en tournant (traveling split jumps), and spagat (turning split jump). He also partnered Dames flawlessly, nailing all the difficult lifts, like the mandatory held ala seconde overhead lift. This is his first time performing this full-length ballet and the audience validated his performance with generous applause and bravos.
For Dames, performing in her home court was not her only advantage. This is her second time essaying the role of Kitri. When she debuted in the role, everybody was charmed by her youthfulness. This time around, she was all woman. There was a sophistication and a calculated restraint to her portrayal. Physical comedy was replaced by more meaningful nuances and interactions with her partner. This mature approach to the role made her more endearing. As for her technical abilities, there was a visible confidence in the execution which made the audience feel at ease while she was performing the most difficult of steps. Dancing side by side with an international star, Dames remained at the forefront dancing as a real star. Not a moment was she an afterthought, which says a lot about what she has accomplished for herself.
Real-life couple Mark Sumaylo and Abigail Oliveiro were unmissable as Espada and Mercedes. Armed with their fearless backbends and unmistakable stage presence, they defined the word suave. They took a backseat as the support soloists but did not waste their time on stage as they savored each step with all eyes on them. They too were basking in the comfort of each other.
Supporting roles by Arnulfo Andrade as Don Quixote, Jessa Balote, and Pearl Dames as friends, Gerardo Francisco as Gamache, Elmo Dictado as Sancho Panza, and Rissa Camaclang and Romeo Peralta as gypsies were performed with clarity of character all throughout.
Missing the old
While the leads were ahead of their game, there were some distracting elements here and there. Act two opened up with a breathtaking sight of blue. Brilliantly lit by lighting designer Monino Duque, the dancers looked ethereal in their blue tutus with cascading sparkling gems. It was a sight that would elicit a gasp in awe of the aesthetic. However, as the dancers danced, the magic dissipated. The physique of some of the dancers was distracting and their ensemble work was not at par with Ballet Manila’s trademark of exquisite corps work. Ultimately, they looked like a bored backdrop forced to pose. Some had big smiles, some had small smiles, some had pensive looks and some were blank-faced. It is important to remember that the ensemble needs to have a collective soul that breathes life into a ballet. Every role is important.
The beautiful Eva Chatal was a polished technician. However, against a backdrop of blue, she did not possess the lightness of a dream. Admirable though are her beautifully extended lines.
Jessa Balote as Cupid was crisp and cute. Her jetes were picture perfect with commendable precision and energy.
A dream come true
Ballet Manila has brought life back to this well-loved story ballet. And just like that, they showed our local audiences that you can fight for your dream and succeed. No lavish sets and no battalion of dancers on stage, but they have a whole lot of dreamers on stage making up for whatever is absent. Bravo Ballet Manila for making the impossible possible.
Tickets: Php 1,200.00 - Php 2,000.00
Show Dates: May 27 - May 28
Venue: Aliw Theatre
Running Time: approx. 2 hour and 30 minutes (two intermissions)
Credits: Ludwig Minkus (Music), Marius Petipa (Choreography), Lisa Macuja Elizalde (Artistic Director), Monino Duque (Lighting Designer),
Cast: (Principals and Soloists) Esteban Hernandez, Pia Dames, Pearl Dames, Jessa Balote, Eva Chatal, Mark Sumaylo, Abigail Oliveiro-Sumaylo, Gerardo Francisco, Alvin Dictado, Arnulfo Andrade, Rissa Camaclang, Romeo Peralta
Encantada was the brainchild of three radical artists. Al Santos wrote the libretto, Joey Ayala the music and finally, it was directed and choreographed by Agnes Locsin. At the time of its premiere everything that they did was unorthodox. The theme was about taboos, the dance genre was contemporary and the music was tribal ( which was not your go-to music for ballets). The product was fresh and the audience embraced it. In 2011, it was restaged by Ballet Philippines and it won numerous awards. But a lot has happened since then. The production value of shows has been inventive, contemporary dance is now at the forefront and the music industry has opened up. I wondered if the ballet could remain as potent as it was when it was created. Opening Night proved that this ballet was indeed a timeless classic.
Purposeful Libretto
The curtains opened revealing Salvador Bernal’s majestic multilevel mountain glistening under the light of John Batalla. The moment of stillness would prepare the audience for a powerhouse performance of music, dance, and theatrics. With her feet grounded and connected to Bernal's mountain, Encantada played by Georgette Sanchez- Vargas descended from the top of the mountains and roused up the kababaihan. It was a soothing warm-up for the telling of a story laced with multiple social critiques on religious hypocrisy, the power divide in society, the violence against women, the oppressed, and the environment.
The story has two different sectors that live by faith. The pagans of the mountains were the Kababihans who relied on their mystical Encantada and the devout Christians who lived in civilization. Through the narrative of the Estranghero who was a devout Christian, the abuse of people and environment by the powerful Frailes would be told. In each major scene, Locsin was able to share a strong message. For instance, in the story, the conflict intensified when the Christian icon of the Virgin Mary was turned over to the pagans who undressed it and worshiped them as their god. This depicts that both sectors believed in the same higher power packaged differently. In the end, it is how you live your life in faith that is the true battle.
In the story, the estranghero was saved by the Kababaihans from pain inflicted by his own sector. While he remained a devout Christian he recognized the kindness of pagans and even lived with them in their sanctuary. The message is loud and clear different religions can coexist.
The role of the estranghero was also quite powerful as it showed that the true devout could easily be persecuted by the powerful. The estranghero was pursued by the Frailes and the Guardia Sibil to his death. Consistent with our history as a nation, many of our heroes who have stood up for what they believed was right suffered. They were always the catalyst of change, the heroes that would be remembered.
In the climactic battle between the Guardia Sibil and the Kababaihans, they destroyed the environment and the spirit of the people. This is a direct call out not to bite the hand that feeds you. There are many more poetic declarations in the scenes that the audience could pick up. Collectively the nuances have made the ballet a powerful social commentary.
Locsin Choreography
The pulsating music of Joey Ayala and Bagong Lumad evoked a vibe. It was ingenious to have the musicians hidden in the mountain. It seemed to breathe life into the mountain. In too many ballets, the singers take away the attention from the dancers but in this performance, the voices reverberated from the stage in the most glorious way. I am certain the dancers being so close to the live music could feed off the energy of the singers. Locsin’s rhythmic steps like stomping furiously to the beat of the music intensified the scenes bringing on the
Playing off the elemental sound Locsin’s choreography was a delicate display of nature. Memorable is the scene where the kababaihan heals the estranghero through the help of the Babaylan and the Encantada. Encantada lifts her arms to the sky and in a dramatic gesture pours healing into the hands of the Babaylan which the Babaylan then transfers to the Kababaihan. In this scene, the women act as a conveyor belt moving the body of the estranghero forward with their bodies. It looked like a magical stream of water being poured out from the sky to his ailing body.
Similarly, in the scene of the great flood, bodies were rolling on the floor like objects swiftly being carried away by the current. There were scenes where the element of wind was the core aesthetic. The ensemble would run furiously in a circle creating the image of a human hurricane with their hair swept away from their faces, the central energy mounting on stage. In the grand finale, the kababaihan toss their hair up and down like being one with the wind. Swaying hips, bendy torsos and a tempo that mimics gusts of wind created beautiful images.
The beauty of Locsin’s choreography lies in how the movements themselves easily build up the characters of the story. For instance, Encatada could have been portrayed as the stereotype of mother earth, colorful and vivacious. Instead, Locsin’s Ecantada had the soul of a mother with hands that lifted in prayer, hands that could heal, hands that could nurture, and hands that could share joy. Her hand articulations were enough to convey emotions. Her grounded movements established that she was part of the earth. Her feet were deeply grounded with most of the steps on fondu (on leg bent) but her upper body movements were weightless somewhat explaining that she is divinely connected to the heavens but rooted in service to the mountain and its people. The Kababaihan ensemble had a lot of linked arms and intertwined bodies which emphasized their sense of community and harmony as opposed to the jagged and non-unified choreography of the violent angular movements of the Guardia Sibil.
It could easily be my imagination but having seen this ballet multiple times, I started to notice picturesque scenes with a likeness to historical events. For instance, in the scene where the Estrangero was beaten up, the two guards held both his arms and lifted him off the ground. His feet were intertwined and it looked like Jesus on the cross. His role was a devout being persecuted and so it made sense. Alternatively, It could also be like Rizal’s death scene where he falls on the floor because he dared revolt. In the scene where the Guardia Sibil were raping the women, they go to a circular formation and scream out their pain. It looked like there was a reference to Dantes's Inferno, where the mangled bodies scream in the sinner's haven.
There were also so many references to Filipino heritage embedded in every major scene like the Marinduque’s Moriones Festival, Manobo healing rituals, and ati atihan. It showcased Filipino culture albeit reinvented in an alternate imaginary Locsin universe.
Passionate Dancers
While I believe the material is the real reason behind the show’s success, the performers really brought their a-game. Neo-ethnic style is something hard to acclimatize with but the dancers seemed intent on giving justice to the choreography. Their passionate acting brought the story to a different level. Considering the technical demands of the ballet the cast’s endurance was amazing.
Georgette Sanchez-Vargas as the Encantada owned the stage displaying artistic maturity. Being a Locsin-trained dancer she was able to articulate Locsin’s vocabulary with ease. She traversed through the mountain levels with confidence. Despite being so high up in the mountain, her emotional scenes were strong enough to puncture the audience and elicit tears. Carissa Adea who performed the role of Babylan showed a different temperament than the pioneer cast but was equally effective. She emphasized empathy and community in her storytelling. Ronelson Yadao who played the estranghero and Lester Lester Reguindin who played the Fraile were dynamic in both their acting and their dancing contributing greatly to the drama.
This third staging of Encantada was successful for a reason. It gave full attention and respect to the material, the creators’ intention, and most importantly the artists.
Restagers Alden Lugnasin, Annette Cruz-Mariano, and Judelle de Guzman-Sicam drew from their experiences. The nuances that could easily be forgotten and imagery that could easily be non-recognizable were clear as day in this staging.
With Agnes Locsin herself at the helm of this production, she was able to school audiences that theater is not about glorifying one person’s art, it is about making sure everyone’s art comes alive. It takes a village to show something worthwhile. When the National Artist for Dance was asked how she felt about the outcome she said that everything fell into place and that she was happy about this staging. Indeed there is much to be happy about.
This now iconic ballet and the Alice Reyes Dance Philippines Company have just re-established the gold standard for creating a Filipino ballet.
Tickets: Php Free ( Registration Required) Show Dates: April 21 - April 22, 2023 Venue: Metropolitan Theater Running Time: approx. 1 hour and 45 mins Credits: Agnes Locsin (Director), Agnes Locsin (Choreographer), Ronelson Yadao (ARDP Artistic Director), Joey Ayala (Composer), Al Santos (Librettist ), John Battala (lighting designer), Salvador Bernal (Set Design, Costume Design), Salvador Bernal Reproduction Consultant (Eric Cruz) Set Construction Supervisor (Erlinda Arcega) Restagers (Alden Lugnasin, Annette Cruz- Mariano , Judelle De Guzman-Sicam) Featured Cast: Encantada ( Georgette Sanchez-Vargas), Babaylan (Carissa Adea), Estranghero (Ronelson Yadao), Fraile (Lester Reguindin), Joey Ayala, Bagong Lumad Company: Alice Reyes Dance Company
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| CCP President Margie Moran-Floirendo at the Main Theater. (Photo by Kiko Cabuena) |
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| CCP Chairman Jaime C. Laya speaks to guests prior to the tour of CCP. (Photo by Erica Jacinto) |
Ms. Tess Rances, CCP Administrative Services Department manager leads the press tour of the CCP (Photo by Erica Jacinto)
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| Current State of the Little Theater |
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| Current State of Silangan Hall |
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| Current State of the exhibit area with the contents of the Library |
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| Current Status of the Main Theatre Lobby |
Looking Forward
It seems the battle cry of the entire CCP organization is " Expect the Unexpected and respond creatively". Looking at everything as challenges instead of problems, they will attempt to make the CCP a green institution. The goal is for it to be environmentally friendly and environmentally resilient. Its facilities will aim to be gender-responsive, and considerate to persons with disabilities and senior citizens. While the people wait for this future-ready- complex, the CCP intends to maximize their itsstrong cultural network. Artistic Director and Vice President Dennis Marasigan reported that the dictum is to broaden its itsreach through partnerships with different venues in Manila and the regional area. Among those mentioned were the Metropolitan Museum, the Samsung Theatre, and the Newport theater. Its exhibitions will inhabit partner museums all over the country. The recent Pasinaya shows that indeed this is possible. In the recent cultural event, CCP partnered with 30 museums and held 72 performances in various venues. This of course includes the only available CCP Venue the Tanghalang Ignacio Gimenez (Blackbox theater) and outdoor performances at the lawn area.
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| CCP Vice President and Artistic Director Dennis Marasigan presents the artistic highlights for 2023 |
Cultural Revolution
During these trying times the resolution remains the same, making the CCP a household name. As former CCP Artistic Director Cris Millado once said " Art matters to every Filipino" or at least it should. Dennis Marasigan presented a fascinating range of activities breaking the norms of cultural exclusivity. One of the major projects of the CCP is Kanto Kultura which opens up opportunities to reach out to unknown Filipino artists and art forms. It is an attempt to close the gap between social classes with art as the equalizer. Out of the box and into people's minds. At the same time, Marasigan reaffirms that the main programs of the CCP like the Cinemalaya, Virgin Labfest, Pasinaya, and Performatura will remain on the agenda. CCP will work closely with the resident companies Ballet Philippines, Philippine Ballet Theatre, the Ramon Obusan Folkloric Group and the Bayanihan Philippine National Folk Dance Company, Tanghalang Pilipino, Philippine Philharmonic Orchestra, the Philippine Madrigal Singers and the National Music Competitions for Young Artists Foundation (NAMCYA) so that they can present their seasons with dignity. The CCP without its facilities now has an opportunity to rebrand. It is not just a building( or a complex) the CCP is a cultural movement. They will leave no stone unturned until everyone gets excited by art. CCP is homeless but hopefully not displaced in the hearts of the Filipino people. Margie Moran-Floirendo encourages everyone to continue supporting the CCP so that we can look forward to a greater CCP.
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| The energetic CCP Board of Directors |
Different from last year, 2021 forced Philippine dance artists to look at their relationship with dance. It was a conscious decision to resist lethargy and depression to continue to create, to hone skills when there was no audience to please. The pandemic gave options to move forward or move on. For those who chose to move forward, it was indeed an awakening metamorphosis. Those who remained rallied productively, aided by both government and private institutions that bombarded the community with opportunities. The focus was no longer to thrive, but to learn and succeed.
Education is still Key
Limitations had grown with the increase of COVID-19 patients and enhancement of lockdowns. With no choice but to look into safer ways to tell stories with movement, practitioners must learn to embark on cross-genre disciplines targeting more generational interest.
The National Commission on Culture and the Arts’ Dance XChange Project, headed by Ms. Shirley Halili-Cruz, held a virtual International Dance Conference from February 16-19, 2021, with objectives to remind artists that the pandemic should be about breaking borders. 4000 attended, with over twenty speakers from around the world discussing the preservation of dance, creating innovations, and enhancing skills in this new normal.
A group of artists led by Buboy Raquitico also believed in the need to adapt. As part of the Cultural Partnership Initiative (CPI) Program, which is operated by the Korea Foundation for International Culture Exchange (KOFICE), they carried out a youth workshop called Body Archive, with courses on therapeutic creative movement, video documentation, arts and environment, music and site-specific movement exploration. The remarkable facet of this endeavor was that dance was repurposed for advocacy and healing. The culminating activity was a dance film called Sundayag, premiered March 21, 2020.
Where is the Spotlight?
In the absence of live shows, the dance turned digital.
The Cultural Center of the Philippines (CCP) revived the annual Pasinaya Open House Festival from March 19-28, 2021, in coordination with the CCP Dance Workshop, which provided free workshops in different genres. The CCP Open House Festival also launched Tuloy Po Kayo (Please Come In) last March 28, 2021, a virtual festival which included performances from the Artists of the CCP Dance Workshop. Pre-recorded were excerpts from Le Corsaire, restaged by Victor Ursabia, and Edna Vida’s Ensalada.
Premiering on the CCP Digital platform were new works by Ronelson Yadao, who collaborated with director Jerrold Tarog for Kabaligtaran ng Gunaw (Undoing the End of the World), a film about being an artist in these trying times, and Erl Sorilla’s self-choreographed solo piece,
Ghostlight, directed by Joseph Morong, a beautiful lullaby comforting the heart of the troubled.
Ballet Philippines also premiered contemporary pieces that celebrated the Filipino from its new foreign leaders in their livestream. Galvanized Houses choreographed by Mikhail Martynuk and E. Panfilov, hoped to feature the rich tapestries of the Filipino home in the context of the Filipino spirit, while Joseph Phillips choreographed Limang Daan (Five Hundred).
Independent producer, Rolby Lacaba, brought to life the Pampanga Ballet Festival, which offered free workshops on February 27 and 28, 2021, with a virtual gala featuring performances from schools and professionals.
The NCCA continued their Sayaw Pinoy episodes through their Dance Xchange Philippines Facebook page. In celebration of International Dance Day, they presented a two-day concert featuring thirty-nine dance companies from all around the Philippines. Also for International Dance Day, nineteen independent artists staged a live show on the social media platform, KUMU. Producer Raflesia Bravo produced “Pulso (Pulse)” and the livestream ran for almost 4 hours. Notable performances include Rhosam Prudenciado Jr’s contemporary solo performance against the digital projection of visual artist Annie Pacana.
Coming Soon
Likhaph founder Prudenciado and team will launch phase two of his community care projects including developmental seminars, mentorships, scholarships and online classes.
The Fifth Wall Festival, which proved that dance films can be varied in concept, treatment, and advocacy, curated by dancer/filmmaker Madge Reyes will have a second run this year. Details are still being worked out but it is something to look forward to.
To Remain a Dancer
To create, perform and learn is a precious gift in these times. While the pandemic limits spaces, it has also been an alternate source of freedom for many dancers, who now realize they are limitless. It is with high hopes that those who remain in the fold will continue to move forward with purpose.
