Narrative confusion, stylistic mismatch plague ‘Ang Panaginip’
Ballet Philippines (BP) launched its season with an enjoyable production of “La Sylphide,” a commendable selection by artistic director Mikhail Martynyuk, who opted for a less frequently performed work rather than an overdone classic. The company demonstrated significant improvement in technical proficiency under his guidance, earning praise from the dance community.
However, the season also revealed Martynyuk’s limitations as a choreographer. “Peter Pan” presented a mixed bag of interesting and mediocre choreographic moments, and the concluding Filipiniana production, “Ang Panaginip,” was particularly problematic. His nth attempt at a contemporary dance, a style outside his expertise, felt strained.
Furthermore, despite his expressed appreciation for the Philippines, his portrayal of Filipino culture appeared based on a cursory, internet-based understanding, resulting in an inaccurate representation.
The narrative, difficult to follow even with a synopsis on hand, centers on 18 princesses who secretly escape their royal confinement to meet their princes in a hidden garden. A young man, hired by the Queen to investigate these nightly escapades, is given an invisibility cloak by a sorcerer. Disguised, he falls in love with the eldest, Princess Matalino, and withholds his findings.
When the Queen discovers his deception, she orders his execution. However, his true identity as a prince is revealed, and Matalino, recognizing his noble intentions, asserts her independence. Ultimately, the Queen relents, allowing her daughters to pursue their dreams.
Legacy company
Following the performance, members of the dance community expressed confusion regarding the characterizations and narrative development—a challenge beyond the librettist’s control. Composer Glenn Aquia’s promising score, unfortunately, lacked sufficient variety, resulting in monotony. Regrettably, the dancers’ remarkable strength and progress were undermined by an incoherent blend of ballet and contemporary dance.
BP has been promoting itself as a legacy company now going to its 56th season. However, its transition to a new management and artistic director in 2020 resulted in the complete elimination of the company’s established 50-year repertoire. BP has a rich history as an early adopter of both classical ballet and modern dance on the global stage.
During the pandemic, its online initiatives, featuring innovative works by guest choreographers such as American legend John McFall, Marcelino Libao of Leipzig Ballet, and Belgium-based Joshua Serafin showed a forward-thinking approach. However, the return to live theater has seen seasons dedicated solely to Martynyuk’s balletic works, limiting the company’s stylistic range. Furthermore, Martynyuk’s explorations of Filipino culture have been perceived as excessively literal.
This significant shift in programming needs a reevaluation of BP’s identity. If BP continues to prioritize this focus, a rebranding would be more accurate than maintaining its current image as a company with a heritage.
