Balletomanes’ spirits soar with BP’s ‘Peter Pan’
Balletomanes who have followed Ballet Philippines’ post-pandemic development left The Theatre at Solaire with hearts as light and carefree as the iconic Peter Pan himself.
Artistic director Misha Martynyuk’s choreography showcased the company’s newfound strength, with dancers exhibiting springier leaps, more controlled pirouettes, and crisper batterie (ballet term for rapid clapping of the legs while dancers are airborne). Even the corps, bolstered by students, performed with precision and commitment.
A symbol of youth and adventure, J.M. Barrie’s “Peter Pan” continues to charm audiences of all ages. This was evident in the legions of children who filled the theater for each performance and adults who said they enjoyed the show. The production brought to life the world of Neverland, where Peter Pan soared through the Darlings’ bedroom, battled pirates, and befriended mermaids and Indians.
Martynyuk offered opportunities for dancers to shine on stage, some of whom had not previously been given the chance. He highlighted the fleet-footed grace of Therese Sartorio Guillermo as Tinkerbell, the agility and innocence of Earvin Guillermo and Alexis Fiel as Michael and John Darling, the sophisticated elegance of Carl Lacaba and Clarisse Miranda as the Darling couple, the jaunty charm of Mark Balucay, and the intensity of Gia Gequinto as Tiger Lily.
As Peter Pan, the athletic Rudolph Capongcol impressed the audience with his well-rounded technique and strong partnering. The choreographer likewise showcased the mellifluous quality of Jemima Reyes as Wendy Darling, highlighting her transition from human to Neverland native with a switch from ballet flats to pointe shoes.
Diligent coach
Martynyuk has proven to be a diligent coach, adept at restaging classical ballets and unlocking the potential of his dancers. However, he is still developing his skill in choreography which, much like singing, requires time to develop.
Art cognoscenti noticed some improvements in his work. Martynyuk introduced interesting movements and a variety of dance vocabulary. He catered to his core audience, delivering the traditional fare they expected—the turns, jumps, and humor from the Crocodile’s hammy antics.
While “Peter Pan” impressed in dance, it sometimes fell short in storytelling. Some cast members tended to step out of their character instead of being consistent in acting. The energy occasionally flagged, and certain sequences felt formulaic or “dance by the numbers.” Choreographic art should surprise, not make the audience predict the next step.
There was room for a deeper exploration of characters. The pas de deux between Peter Pan and Wendy, for instance, relied on classical duet patterns rather than delving into the intriguing interplay of Wendy’s growing affection and frustration with Peter’s refusal to mature. On the other hand, Capongcol’s partnership with Reyes transformed her performance, making her seem like a ballerina. However, the journey of Michael and John Darling from their mundane existence to the magical realm of Neverland was not fully realized.
In theater, the flight of Peter Pan, Tinkerbell, and the Darling children is crucial to visualizing their flight to Neverland and back. Yet, the production limited the flight sequences, with only Peter Pan entering and exiting the stage in the first and last acts.
By emphasizing exhilarating aerial sequences and expressive storytelling, the choreography could have created a more immersive and emotionally resonant Peter Pan experience, rather than relying solely on technically demanding dances and resplendent sets.
Well, what the show lacked in aerial dancing, the cast made up for it with their flying leaps.
