In Focus: Kris-belle Paclibar-Mamagun and Johanna Mangubat

CEBU, Philippines - Cebu Centre for Dance (CCD) will stage its ballet adaptation of James Lapine & Stephen Sondheim's Broadway Musical, Into The Woods. Slated on December 7, 2013, 6 PM at SM Cinema One, it is surely a production for all family members to watch and enjoy. We recently had a chance to sit down with Manila-based guest artist Kris-Belle Paclibar-Mamagun, who will play the lead female role, and CCD's Managing Director Johanna Mangubat. Here are excerpts of our conversation:

WITH Kris-belle Paclibar-Mamagun

Leah Sia (LS): Can you tell me how you started in ballet?

Kris-Belle Paclibar-Mamagun (KM): I started when I was 9 years old at the Locsin Dance Workshop in Davao. My passion since I was young has always been dance. My parents told me we couldn't afford dance lessons, when I was five years old, so I waited till I was 9 before I was enrolled in jazz classes. When I was 12 years old, my parents again told me we could not afford the lessons anymore. My teacher at that time, Mrs. Carmen D. Locsin, told my parents to have me as a scholar instead, assisting weekend classes. My mother consented. In 1994, three of us were sent to the Cultural Center of the Philippines in Manila to attend a summer dance workshop. We were asked to audition, and got a full scholarship for the summer. After the workshop, I went back to Davao, and didn't expect anything, or to go back to Manila anymore. In 1998, Agnes Locsin wanted to adopt me and go to Manila to audition at the ballet companies. So, it was there that I finished my degree from the College of St. Benilde, in Performing Arts under a full scholarship. In Ballet Philippines, I was groomed for higher roles, but I kept thinking until when would this last due to my financial situation since my parents were still supporting me. I talked to my Teacher Noordin (Jumalon) at that time, and I was encouraged to audition with Hong Kong Disneyland, whose key people were in Manila at that time. I got accepted, and while in Hong Kong, I also applied with Cirque de Soleil in 2008. I got accepted and moved to Macau. I got married in 2010, and when my contract ended in 2012, my husband and I decided to move back to the Philippines with our baby boy to be closer to home. Currently, we are based in Manila. I work as a freelance ballet teacher, while my husband is into photography.

LS: What made you accept the lead female role?

KM: Because of Johanna (Mangubat). This is the second time I've worked with her. The first time was during the production of Sleeping Beauty in 2004, here in Cebu. She also told me that the CCD studio is new, with young dancers who need someone like me to share their experiences. I'm at the point where I want to encourage dancers, boost the younger generation's passion for dance.

LS: How has it been working with CCD so far?

KM: It's been okay! It was my first time yesterday with partner, Jeff, to learn our pas de duex. Everyone's been very accommodating, especially Tita Mary Chan and Tita Baby Cabaero. It's like being in your home. I also see that the kids have the discipline. Plus, I like the location of the school.

LS: What message would you like to impart to the audience on December 7?

KM: Enjoy the show and support the arts for the next generation, the young artists. We need to take care of the younger ones so they don't lose the spark. We need to guide them so they can eventually find their own way.

WITH Johanna Mangubat

Leah Sia (LS): Can you tell me about how you came to be as Managing Director/teacher for CCD?

Johanna Mangubat (JM): A group of ballet teachers and supporters of the arts formed a school two years ago. We felt Cebu was ready to have a place to appreciate the arts, or classical dance in general. Everyone pitched in their talents to form CCD. We come from different backgrounds and disciplines, but our bond is our passion for dance and the performing arts. For example, one of the founders, Mary Poblete Chan is a doctor. Baby Cabaero is a ballet teacher and certified Pilates instructor. We also have a couple very much interested in the arts, Allen Arvin and Jennifer Tan. We're very lucky we've created a market to give the best quality dance education. Our main goal is really to share our knowledge and our passion.

LS: Tell me a bit about your ballet production, Into the Woods.

JM: It's a ballet adaptation of James Lapine & Stephen Sondheim's Broadway Musical. It's not exactly the same, we added our own flavors, with the same characters. It's the first of its kind, infusing both dance and theater. We got Penny Ong as Director, and Marlinda Angbetic Tan, as the Wicked Witch both with vast experience in theater. So it's not just purely dance, we even have a narrator, so it's easier for the audience to follow and understand the plot onstage. The production weaves the plots of several Brothers Grimm fairy tales and follows them to explore the consequences of the characters' wishes and quests. The main characters are taken from "Little Red Riding Hood", "Jack and the Beanstalk", "Rapunzel", and "Cinderella", as well as several others. The production is linked together by an original story involving a childless baker and his wife and their quest to begin a family, their encounter with a Witch who has placed a curse on them, and their dealings with other storybook characters during their journey.

LS: What do you do as choreographer of Into the Woods?

JM: Baby Cabaero, Mary Chan, and myself set up all the dances for the show. It's all original, as explained earlier, since it's never been done before that both dance and theater are infused. All levels in CCD have their own dance in this adaptation.

LS: Any challenges or concerns?

JM: Yes, how to bring together two different art forms – theater and dance – and make it cohesive. For the dancing and choreography not to be compromised, and for the acting to be executed well. Basically, the challenge is for both art forms to be highlighted without compromising the other. It was  also challenging getting a guest artist, not just Kris-belle, but our Wicked Witch (Marlinda Angbetic Tan), and our Director (Penny Ong.) In addition, we had to match everyone's schedules, from guests artists, students, and the director. It's been challenging...but fun, fulfilling, and inspiring!