45 YEARS OF BRILLIANCE

Ballet Philippines' corps de ballet

This article is long overdue but I've been so busy lately and have not had the time to go online.

Stella Abrera as Giselle

That out of the way, I would like to add some tidbits about a lot of the articles that have come out in praise of Ballet Philippines' 45th Season Gala Opening and the Homecoming which brought to the fore students of former dancers who have immensely benefited from learning from colleagues and mentors who have left their stamp on the level of dancing in BP.

the mad scene

Sara Meier Black wrote a lengthy, well written article in the Manila Bulletin about the homecoming and the productions of the company that is both endearing and thought provoking. As of this writing, Ballet Philippines is touring the US West Coast and has so far garnered rave reviews from Filipinos and Americans alike prompting the likes of Lou Diamond Philips and Apl d.Ap to go backstage and heap praises on everybody in the company.

Myrtha and the Willis

Alice Reyes ( National Artist for Dance) once said that any company that lasts this long takes on a life of its own despite the people who run it. Prophetic words, those. The company's success lies on its main resource: the dancers and their mentors. Whomever runs the company is far overshadowed by the brilliance of the dancing, the energy of its youthful dancers and the passion that drives them to do what they do. I should know. Been there, done that!

James Whiteside

The Gala which starred American Ballet Theater's Stella Abrera and James Whiteside was magical. The tragic love story of Giselle is given a new perspective when Abrera's  and Whiteside's acting and technique marry together and  transform the ballet from a series of steps set to music to a moving story of love gone miserably wrong with the saving grace of eternal love. Ahhh... one is always hopeful...

Giselle and Albrecht in a pas de deux

Stella's "mad scene" which is the test of any seasoned ballerina was so well under-acted, you would've wanted to make the score go further. There were no jarring histrionics in her mime, no super violent reactions in movement. It was almost cinematic in effect. I was utterly moved by it. Whiteside, on the other hand was so technically adept, he seemed effortless particularly in the scene where Myrtha (Queen of the Willis) makes him dance till he drops of exhaustion. His entrechats were crisp and clean and his balon was breathtaking.

Denise Parungao and Edana Labitoria in Je, Tu, Elle

In the matinees, the Filipino dancers, tried to keep up with the ABT Stars as well. Denise Parungao and Katherine Trofeo were fabulous in their portrayals. Trofeo was slightly more expressive and her balances were solid. This, I feel, was due to experience. Denise Parungao is a star to watch. She is young and has more years to conquer the dance firmament. Jean Marc Cordero and Earl Arisola were galant Albrechts. Their partnering and support gave impetus to their Giselles semblance to weightlessness and ethereal quality. Giselle, is indeed after all, a ghost.

Macel Dofitas in Dandansoy

The next weekend saw the company performingin Blue Moon Series, a different genre of modern and contemporary dance. Strong pieces from the works of Bam Damian, Carlo Pacis, Rheda Bentefour, George Berkadze and culminating in Norman Walker's iconic Songs of a Wayfarer were the top draw. Ricard Yadao's dancing sealed the conviction that Nonoy Froilan can now finally rest his laurels. Nonoy was teaching Yadao the nuances of the piece every step of the way and the result was brilliant. Candice Adea and partner Shen Jie of HK Ballet and the Madrigal Singers performed to the delight of Philippine balletomanes. I was half expecting to see Gener Caringal's Ang Sultan, Edna Vida's Pagsamba and Isaiah in the repertoire as these were danced to death for shows during our generation. Ooops, that's a give-away!

Richard Yadao in Romeo and Juliet

Thanks to Ballet Philippines, there is now a whole new generation of artists who have stronger technique, higher aspirations and a legacy to pass on to other young aspiring dancers out there. Ballet Philippines should be elevated to a National Company like Bayanihan and Madrigal Singers. Shall we wait for another 45 years?

Garry Corpuz and Katherine Trofeo in Nocturne