What is it about 2011 that seems to be bringing in news of doom and gloom? Yesterday, I received a disturbing text message from good friend Aries Alcayaga, that my mentor and friend and National Artist for Theater design Salvador Bernal, proud son of Dagupan has passed on.
Badong, as he is fondly called leaves behind a rich legacy in theatre design that many can only hope to emulate. Ballet Philippines, for one has accumulated a treasure trove of his sets and costumes over the company's four decades of existence.
And it wasn't just for BP that he designed. His other works for the other resident companies were equally as brilliant. his plans were well-conceived and well-thought out, well-planned and well-executed. It didn't matter whether the resident companies could not afford the massive scale of his grandiose designs. Badong would inevitably have what he needed for the sets. For instance, in one ballroom scene for Ballet Philippine's production of Cinderella, he created two huge chandeliers with wrought iron frames and he utilized nothing more that empty barrels of Bic Crystal ballpens dangling from the frames to catch the lights. IT WORKED!
I myself have benefited immensely from his wise tutelage. He was hands-on in his work, designing, making patterns, cutting material, directing where each bead and sequin and appliqué would fall. He was just as astute with his sets from floor plan to maquette to actual set execution. Each and every production he designed for Ballet Philippines had that inimitable stamp of Bernal.
I first met him at a theater workshop of Tanghalang Ateneo. Then eventually found myself working with him again when I pursued my career in dance. Oh, how marvellous it was to be dancing in his sets wearing his costumes!!! I was a butler in Cinderella, townsfolk in Rama Hari, and as my roles grew and grew my costumes became more elaborate. He made a costume for my High Brahmin role in La Bayadere made out of voluminous layers of satin and brocade edged with yards and yards of curtain doiley. The undergarment was maroon with the top layer; a caftan of gold brocade and a tall fez with the same gold cord. It didn't matter what type of material he used, Badong made me look powerful... and expensive!!!
Among my personal favorites of Badong's works are (in no particular order) :
Cinderella - complete with pumpkin carriage
Rama Hari - stark split- level set blocks that change configuration and Gintong Usa Costume
The Firebird -Edna Vida's debut as a star with her glittering unitard
Nutcracker Ballet - Philippine version with art noveau sets and Maria Claras made of sinamay and canamazo
Encantada- I had to clamber up three flights of steps 18 feet high with two female dancers on my shoulders in my moriones costume
Itim Asu, May Day Eve, La Loba Negra- all of Tita Alice's (Reyes) ballets
La Bayadere - complete with fire pit dead center of the stage
Peter Pan - I remember Bettina Escano as Tinkerbell with her costume lighting up at certain parts and Bam Damian as the Indian Chief with a ceremonial feather headress for the powwow
Carmen - those maroon toreador costumes still survive to this day
Badong did so much more for Ballet Philippines and for Tanghalang Pilipino as well as for television shows like Superstar (yes, she created gowns for La Aunor). His works loom larger than life as he has lived productively as a consummate artist and good friend. I can almost hear him now in his big booming voice... "Manash, ang ganda mo ngayon!"
We'll miss him...
*photos from imagebucket, gibbs cadiz, wikipedia and phil. star
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