Ballet Manila’s “Halo-Halo” at Aliw Theater has no unifying factor, hence its title. Each “dish” is distinct and distinctive, making the menu very flavorful. Enough of the metaphor.
The Paquita classic divertissement choreographed by Petipa to Minkus’ music, a favorite of balletomanes, demonstrates the grace, discipline and precision of the corps de ballet, and more particularly, of soloists Mylene Aggabao, Jennifer Rose Olayvar, Anne Kateri Gelvoria, Yanti Marduli, Marika Capati and Kimberley Anne Mendoza. Their fine performance is doubtless the result of rigorous, rigid training under artistic director Lisa Macuja Elizalde, exponent of Kirov Ballet’s Vaganova School.
In Paquita, Lisa proves herself the country’s best ballet dancer, wholly deserving of the title “The Filipino ballerina at her best”. Her technique remains formidable and nearly impeccable. How she excites viewers with her more than the standard 32 fouettes! Rudy de Dios partners Lisa with sturdy competence, speed and ballon (lightness).
Sotto Voce (World Premiere) is a modern ballet, a refreshing departure from the traditional, as choreographed by Augustus “Bam” Damian. It demonstrates the fluidity and skill of the soloists already mentioned along with Sarah Abigail Cruz and Carina Villega.
From the purely lyrical and classical Paquita, “Madness” shifts to a dramatic fusion of ballet and modern dance specially choreographed for Lisa by the Russian Sergey Vikulov of the Marinsky (Kirov Ballet). Vigorous and violent thrusts of legs, arms and the twisting of torso reflect dark, angry, desperate moods eloquently conveyed by the versatile Lisa.
Damian’s abstract pas de deux M.A.D.N., which represents the first names of dancers Mylene Aggabao, Alfren Salgado and alternates Zaira Cosico and Nager Salgado, is again a departure from the purely classic with its angular poses, twists and turns that test the dancers’ plasticity and elasticity.
Ernest Mandap’s Gomburza (World Premiere), performed by Gerardo Francisco (alternate, Ricardo Mallari), Nino Guevarra and Alvin Santos intensely expresses the fiery, rebellious spirit of Fathers Gomez, Burgos and Zamora, the freedom fighters and activists of the Spanish era. Movements, slow alternating with fast, complement the languid tempo and the pounding rhythms of the weird, eerie music produced by percussions and vocalists. The dancers, blind-folded in one sequence, dramatize to a most compelling degree the plight, ordeal and tragic end of the three friars.
Reconfigured (World Premiere) choreographed by Damian, with soloists Rudy de Dios, Gerardo Francisco (alternate, Michael Divinagracia), Alvin Santos and Alfren Salgado, and a large contingent of other male dancers consists of magnetic, frenzied, massive and cohesive movement to the thunderous percussive music of Von Magnet.
“Halo-Halo” is climaxed by a repeat of Tony Fabella’s thoroughly amusing Ang Mahiwagang Biyulin, the only choreography to a storyline — a charming fairytale to Ryan Cayabyab’s music. The ballet recount the misadventures of the overburdened Rodrigo under his cruel master Ahib. A beggar whom Rodrigo helps with his meager earnings gives him a magic violin whose music makes all and sundry — soldiers, townspeople — move, jump and gyrate. Rodrigo has been falsely accused of theft but as in all fairytales, he is rewarded and Ahib, punished.
Miming and dancing by both Gerardo Francisco as Rodrigo and Marcus Tolentino as Ahib, are admirable.
“Halo-Halo” shows an exhilarating catholicity of taste, representing as it does widely divergent styles in dance and music.
The internationally-awarded Lisa should be warmly commended for keeping ballet vibrantly alive throughout the country, and gaining recognition for Filipino ballet dancers abroad. Osias Barrosa is Ballet Manila’s artistic associate and ballet master.
“Halo-Halo” will be repeated Aug. 29 and 30. To revert to the metaphor, enjoy its special flavor!