Ballet Manila at 30: ‘Pearl Gala’ mesmerizes
In 1995, Ballet Manila (BM) debuted at the small PCIBank auditorium, greeted by an enthusiastic crowd mirroring the 12-member company’s energy. Thirty years later, at the 1,200-seat Aliw Theater, a full corps de ballet garnered prolonged applause and cheers after their “Pearl Gala.”
Now, BM artistic director and CEO Lisa Macuja-Elizalde aims to surpass the 31st season.
The program highlighted BM’s commitment to high-standard ballet technique. “Paquita Grand Pas Classique” opened the show, a nod to its role as the finale of BM’s premiere. It featured an adagio, pas de trois, and solos demonstrating the dancers’ strength, agility, and artistry, along with the corps de ballet’s synchronized lines.
The audience was impressed by the elegant grandeur of the opening adagio. Mark Sumaylo, as Lucien, displayed nobility alongside Abigail Oliveiro’s Paquita, whose long limbs complemented the flowing movements.
Set to Ludwig Minkus’ score, the choreography, by Joseph Mazilier and Marius Petipa, demanded well-rounded dancers proficient in turns, footwork, balances, and jumps, revealing the distinction between seasoned and emerging performers. Despite this, the principals exhibited gala-night jitters. Sumaylo’s impressive scissors jetés (a switch of the legs in mid-air) were followed by solos marked by visible nervousness. Oliveiro, while visually striking, needed more abandon and spontaneity.
While the corps de ballet demonstrated a solid foundation, their batterie (interweaving of the legs) needed snap and clarity. Some soloists also struggled with pacing, rushing movements, and lacking buoyancy in their jumps.
Impressive
Rafael Perez, the only male in the pas de trois, distinguished himself with beautifully arched feet, precise batterie, virtuosic clarity, and verve. Though subtle, Nanami Hasegawa transitioned seamlessly between balances, beats, and turns. Jessica Pearl Dames delivered her rapid solo with zest and maturity, showcasing intricate precision and winning presence.
The soloists had their moments: Jessa Balote, Rissa Mae Camaclang, and Marinette Franco displayed grit, though they could benefit from greater finesse and piquancy over time. Stephanie Santiago’s movement was charged, her feet barely touching the floor. Celine Astrologo’s technique showed remarkable breadth, extending beyond her surrounding space. Shamira Drapete, a vision of elegant strength en pointe, glided across the stage with willowy limbs and regal bearing.
Ultimately, “Paquita” impressed the audience with its athleticism, confident execution, and flair.
Belgian Colombian choreographer Annabelle Lopez Ochoa’s contemporary ballet, “Bloom,” was inspired by her holidays in Bali. She was fascinated by the central Hindu ritual of daily flower offerings, called pooja, placed on doorsteps as an expression of gratitude and connection with the Divine.
Floral-inspired performance
“Bloom” presented bare-chested danseurs in loose white pants, performing martial arts stances to develop discipline and respect for nature. They were joined by soft but strong ballerinas in white tutus, symbolizing flower offerings.
The central pas de deux, performed by a couple in red, depicted the ballerina as a flower and her partner as its keeper. This duet, according to the choreographer, portrayed the flower’s desire to escape, coupled with a seductive allure, conveying the message: “You have to catch me, worship me, and care for me so that I bloom.”
Set to Philip Glass’ haunting “Violin Concerto,” the choreography was poetic yet enigmatic, contrasting the delicacy and mystery of the female “flowers” with the virility of the danseurs. Lead couple Joshua Enciso and Stephanie Santiago danced with ceremonial grace. Enciso’s powerful yet chivalrous partnering complemented Santiago’s blend of subtle flirtation and elusiveness. The dance ended with the cast’s departure, leaving only the red-clad ballerina. She tiptoed through the petals, a solitary figure reminiscent of wind-blown flowers after a sacred rite. The company’s intensity left the audience mesmerized.
“Pearls,” a ballet choreographed by Martin Lawrance and Macuja-Elizalde to the music of Giuseppe Verdi, showcased their artistry and highlighted their collaboration with Jewelmer. This recalled the South Sea pearls company’s patronage of dance, beginning with founder Jacques Branellec’s support. In the aughts, he brought dancers from Ballet Philippines and the Douglas Nierras Powerdance Company to perform pearl-themed dances at international jewelry trade fairs.
Demanding piece
“Pearls” offered a multifaceted stylistic exploration, moving from neoclassical elegance to contemporary off-center and angular movements, culminating in classical opulence. Elizalde’s ensemble choreography aligned with the score, highlighting its nuances. She demonstrated her ability to craft dynamic sequences from simple movements, employing speed, precise formations, and energy.
In contrast to the classicism, Lawrance introduced a contemporary section characterized by generous flow extending to the extremities and softly finished phrases.
Lawrance’s “Black Pearl,” featuring three pas de deux for Sumaylo and Oliveiro, evoked the qualities of the black pearl. His choreography embodied refined elegance, faithfully interpreting the music with meticulous construction, surprise elements, and subtle emotional depth.
The choreography began with languid movements in the first pas de deux, suggesting the pearl’s emergence from the sea. Subsequent duets emphasized angular forms and dramatic contrasts, revealing the work’s musical and thematic layers. Sumaylo and Oliveiro excelled in this demanding piece, moving as a single unit. Sumaylo’s assured partnering and intense focus provided a strong foundation for Oliveiro’s shifting moods and unpredictable movements. For those who appreciate technical feats, she thrilled with sudden, deeply articulated bends and picture-perfect side penchés (a leg extended to the side like a watch with hands at 6 o’clock).
From its humble beginnings to this triumphant gala, BM has not only showcased technical mastery but also a vibrant artistic evolution.
