Cathy Lee enchants in Romeo and Juliet

It is always a daunting challenge to mount the ballet Romeo and Juliet. Here are a few reasons. Characterization of the star-crossed lovers is a supreme test. Legend has it that Romeo was 16; Juliet, 14. Thus, they must express onstage the purest, most pristine passion both in their dancing and acting (miming).

Secondly, the feuding Montagues and Capulets of Verona are of royal lineage; accordingly, the sets and costumes must convey opulence and elegance. Further, the duel scenes, to generate excitement, require a high degree of fencing skill on the part of the various protagonists.

Thirdly, Prokofiev’s score being powerful,

indeed, overwhelming, it is imperative that movement and miming – by the leads, soloists and corps de ballet – match the music.

Finally, the crowd scenes demand a huge cast; therefore, local ballet companies have to recruit guest artists to create the illusion of constant hustle and bustle.

It is to the immense credit of the Philippine Ballet Theater, particularly of its artistic director Gener A. Caringal, and of Katrina Santos Mercado who re-staged Thomas Pazik’s eloquent choreography, to have remounted Romeo and Juliet. Some years ago, PBT first mounted it, and for this and past productions, PBT justifies its claim, in the words of CCP President Nestor Jardin and VP-Artistic Director Fernando Josef "as having established a niche in the country today as a major proponent of classical ballet in the Philippines". Indeed, PBT accurately calls itself "the pre-eminent classical ballet company in the Philippines today".

The PBT’ s staging of Romeo and Juliet (I saw the Saturday matinee) was not quite as grandiose and spectacular as might have been expected; but on the whole it was admirably credible, persuasive and compelling.

To begin with, Cathy Lee Roslovtsev as enchanting Juliet totally captivated the audience. Her slim figure, remarkable lightness and brilliant dancing – this enhanced by her miming and facial expression – rendered her portrayal heart-wrenching.

The burden of impersonating the ardent, rash, impetuous Romeo fell on Ronilo Jaynario who seemed nearly as convincing as Cathy was in her own role.

The balcony and crypt scenes, the first lyrical, the second gripping, were doubtless dramatic highlights, with the young lovers in the closest interaction and rapport – both technically and interpretively.

Judging by the printed program, one finds it difficult to give accurate credit to the dancers or their alternates whose dates of performances are not specified. Nevertheless as nearly as I can recall, the concubines – Jan Tara Ferrer, Faye Abigail Tan and Michelle Navarro (alternate Therese Arcinas) – did some marvelously spirited dancing. The nimble, fleet-footed Niño Guevara, jester, and Alvin Aficionado, Mercutio, must be in demand for their neat, controlled technique, there being so few danseurs available.

Guada de Leon (alternate Abigail Tan) and Joel Matias (alternate Lucas Jacinto) as the Capulets, Mylen Saldaña and Tony Bisenio as the Montagues were appropriately regal and imperious in manner. Rosalie Carreon-Zarate was a delight as Juliet’s caring affectionate nurse.

Also in the cast: Conrad Tiolengco, Prince of Varona; Jun Dalit/Ardee Lacsina, Friar Lawrence; Jared Tan, Benvolio; Stephen Cañete, Tybalt; Sydney Ignacio, Paris; Trixie del Rosario, Rosaline, Romeo’s earlier love interest.

Lighting of the balcony scene exuded a romantic glow; at the crypt, it permeated an eerie, chilling gloom. But the stage for the rest of the ballet was rather poorly illumined, thus diminishing the life and sparkle in the marketplace for the initial duel and the street festival, as well as for the Capulets’ grand ball and the spirited "happenings" at the square in Verona.

Inexplicably, likewise, while Prokofiev’s music (shortly before the first intermission) increased in urgency, its driving rhythms calling for suspenseful drama and action, the lights abruptly went off, plunging the stage in total darkness, thus obliterating the view as the music continued to reach a deafening climax.

Nevertheless, the overall presentation left balletomanes with the remembrance of a tremendous challenge – as previously explained in detail – audaciously and beautifully met. Not the least, it was enhanced to a considerable degree by Cathy’s exquisite portrayal of the tragic Juliet.

Finally, the staging was a testimony to the PBT’s solid reputation as the country’s leading classical ballet company today.