BP’s ‘La Sylphide’ captivates, surpasses past efforts
Ballet Philippines’ (BP) 55th season, under the artistic direction of Mikhail Martynyuk, has taken a significant leap forward. Unlike previous original productions which had missteps, Martynyuk’s staging of “La Sylphide” captivated audiences of all levels, from ballet novices and enthusiasts to cynics.
Martynyuk clearly focused on enhancing the dancers’ classical technique, musicality and dramatic interpretation. The male dancers, in particular, showcased impressive improvements in turns, jumps and footwork.
“La Sylphide” is Martynyuk’s second full-length classical ballet, surpassing the achievements of last season’s “Coppelia.” This Romantic-era ballet demands a unique style characterized by interlacing footwork, minimal partnering and soft, rounded arm movements. Unlike later 19th-century works, “La Sylphide” emphasizes subtle expression over overt showmanship.
The story follows Scotsman James, who is about to marry Effie when he is enchanted by a wood sprite, Sylphide. Forsaking his bride and friend Gurn, James chases the fairy into the woods.
But a mortal’s love for an elemental is fatal. Driven by desire, James throws a scarf, given by Madge the witch, over the sylph. Sylphide’s wings fall off and she perishes. Heartbroken, James dies, leaving Madge triumphant over the lifeless body.
Consistent performance
The company’s performance was remarkably consistent, showcasing clarity of movement, expression and musicality. The company’s newfound strengths solidify Martynyuk’s ability to lead the dancers.
Regina Magbitang’s portrayal of Sylphide captured the character’s impishness. Martynyuk’s guidance has refined her once exaggerated performance, resulting in more purposeful gestures. Rudolph Capongcol as James performed his solos with aplomb, showing off his springy jumps, crisp batterie (beaten steps), picture-perfect split jumps, and controlled landings. While his mime was clear, deeper emotional connection will develop with time.
Carlo Pagoda was a revelation as Gurn, effortlessly displaying his technical prowess. His performance effectively conveyed Gurn’s character arc—he is secretly in love with Effie and ends up marrying her. Idelle Buhia portrayed Effie’s emotional journey from joy to concern and eventual acceptance. Peter San Juan’s magnetic and sinister witch was a highlight, contributing to the ballet’s powerful climax.
Lead sylphs Jemima Reyes, Danielle Kleiner and Clarisa Miranda were eloquent with their faces expressive, arms graceful and jumps consistently soft and bouncy.
Standout moment
A standout moment in La Sylphide was the Scottish reel, showcasing the company’s ability to synchronize. This traditional Highland dance, characterized by lively footwork, intricate partner changes and coordinated formations, was executed with energy and precision by BP’s ensemble. The company was evidently eager to explore new styles, combined with their mastery of Martynyuk’s coaching.
Unfortunately, the production design was a significant letdown. The lighting was consistently flat, failing to complement the music and to spotlight on Sylphide. This was particularly disappointing during the curtain call, when the dancers deserved to be showcased, not obscured by shadowy lighting. The costumes were similarly underwhelming, with earthy tones and dull kilts blending into the scenery. In an era of limitless design possibilities, such shortcomings are inexcusable.
Given BP’s strong start to the season, there is hope for improvement in the upcoming productions. To enhance the variety of the season, we suggest veering away from one choreographer for all the productions and commissioning the finale, the Filipino-themed work, from another talent.
