By Brontë H. Lacsamana, Reporter
Ballet Review
Pasasalamat
By Alice Reyes Dance Philippines
WITH a National Artist for Dance at its helm, Alice Reyes Dance Philippines (ARDP) mounted its latest performance to boast of a repertoire that is both expansive and varied, showcasing twists, turns, and utter mastery of the art.
The program on Aug. 1 was billed as Pasasalamat, indicating it was a show of thanksgiving. But the four choreographers involved presented works that prove something beyond that — a vow to continue offering more and more each time, be it new or classic.
The performance consisted of Erl Sorilla’s entertaining “Mga Kuwento ni Juan Tamad,” Augustus “Bam” Damian III’s electrifying update on “C’est La Cie,” Monica Gana’s romantic piece “Para Kay Gabriela,” and Norman Walker’s anguished “Songs of a Wayfarer” and the world premiere of his luminous master work “Seraphic Fire.”
HUMOR AND ENERGYHaving a Philippine folk tale as the first dance in the program was a good way to get the audience going. It had some interactive elements, with Ricmar Bayoneta as Juan Tamad and Dan Dayo as his monkey sidekick Matsing going offstage and engaging the audience with their infectious humor and spirited movements. As a whole, Mr. Sorilla choreographed a lovely dance-theater piece that enriches the original narrative.
For Mr. Damian’s abstract ballet “C’est La Cie” to come after that was a shock of energy that stayed in one’s mind well after the night ended. It could even be described as the scene stealer of the evening. Propelled forward by galvanizing rhythms, the complex and physically demanding choreography utilized ARDP’s dancers with striking ease. Their bodies gave in to sharp, sometimes even jagged, tension, spiraling from one solo to another until group sequences had them moving in sweeping arcs around each other with precision.
The choreographic debut of Ms. Gana followed, her piece, “Para Kay Gabriela,”the shortest in the program — but also the sweetest. It depicts a romantic dance between revolutionary heroes Gabriela and Diego Silang, backed by tender guitar music and a soft chemistry between its dancers, Krislynne Buri and Renzen Arboleda. The folk dance elements mixed with ballet make for simple yet meaningful choreography.
Finally, Norman Walker’s two works allowed the ARDP dancers to highlight their ability to be graceful and also evoke drama. “Songs of a Wayfarer,” set to music about unrequited love by Gustav Mahler, was as fluid as it was operatic. The spacious stage allowed for the love triangle of dancers at its center — Ejay Arisola as the heartbroken lead, Erl Sorilla as the reliable groom, and Monica Gana as the lustrous bride — to play out the story with openness and classic emotion.
It was Mr. Walker’s world premiere of “Seraphic Fire” that showcased the natural ebb and flow of his meditative choreography. Truthfully, its length could be felt at parts, the energy of the choreography not sustained from one section to the next. But divided into four sections, the company’s dancers got to flex their skills in shifting atmosphere using movement, from dignified strides and contemplative sweeps to dynamic duets and, finally, the triumphant conclusion.
The night’s performance was by invitation only, but hopefully its contents will be shown in future ARDP programs, each with their own wellspring of creativity in dance worth sharing with more people.
WOBBLY START FOR MAKATI’S NEWEST THEATERFor the newly opened Proscenium Theater in Rockwell, Makati, this was the chance to show the world that it is a venue fit for the best live performances. In attendance were members of the arts community, groups of lucky students, and five National Artists: Virgilio Almario, Benedicto “Bencab” Cabrera, Ramon Santos, Ryan Cayabyab, and Alice Reyes herself.
Pasasalamat was honestly a demanding program for a theater still on its pre-opening test run, and it showed.
The ushers were not yet quick to manage crowds in the lobby or answer questions about the show. The lighting was also unreliable at parts, with spotlights too slow to follow certain characters in“Juan Tamad”and nocturnal moments in Mr. Walker’s choreography momentarily receiving bursts of bright light — but these are things that can be fixed.
The venue itself, with a capacity of 780, may be spacious and grand, but it feels almost intimate. The main downside is that the uneven stairs, are a pain to navigate in the dark due to inadequate step lighting. The main upside is that wherever you sit in the theater gives you a clear view of the stage and the performers, thanks to the raked elevation of seats.
Overall, the Proscenium Theater is a promising venue that the Filipino performing arts scene can use well moving forward — once it smoothens out all the kinks. ARDP’s Pasasalamat was proof of that.
The theater’s first commercial show will be The Bodyguard The Musical, opening on Sept. 26. Tickets, priced from P4,120 to P6,965, are now available via TicketWorld.
