In 'Ballet and Ballads', the dances predominate

For every concert, each ballet company faces the challenge of rendering ballet tradition dynamic and attractive. In its most recent program, Ballet Manila faced a new challenge: the fusion of ballet and ballads as envisioned and conceptualized by MBC president Fred Elizalde, husband of Lisa Macuja, Ballet Manila’s leading ballerina and artistic director.

With imaginative creativity, Lisa and artistic associate-ballet master Osias Barroso rose to the challenge, retaining the balletic mold while adding new steps and movements to it: Lisa and the ballet ensemble presented classic and contemporary ballet; top balladeer Basil Valdez offered pop entertainment through Filipino songs by George Canseco and Ryan Cayabyab.

The dances did not become Filipino even though the songs were composed by Filipinos or sung in Pilipino. Kastilyong Buhangin, Mahiwaga and You were rendered solo; Salamin ng Buhay, Paraisong Parisukat, Corner of the Sky, Nais Ko and Ngayon at Kailanman merely provided the accompaniment to the dances which made no attempt to describe or express the meaning of the lyrics through steps or movements. The dances were alien to the songs and vice versa.

As earlier observed, highly pleasing as the songs were, they merely served as accompaniment, as most musical pieces do for other dances. To this extent, in any case, there was an innovative cross-over between ballet and ballads.

Basil Valdez, who sang one number with a dazzling stage set behind him, did have a considerable following, as evinced by the lusty applause his solos garnered. But when he performed with the dancers, attention was focused on them rather than on him. Ballet, in other words, dominated the concert.

The dancing was sheer pleasure to watch. Often, both ballerinas and danseurs were tremendously fascinating. In “Dancing to Czerny, the entire ensemble conveyed startling precision, discipline, spontaneity, exuberance, freshness and grace. One could see meticulous and rigid training in their performance.

Principals were Sarah Abigail Cruz, Mylene Aggabao, Yanti Marduli, Dawna Mangahas, Rudy de Dios, Gerardo Francisco, Niño Guevarra, Nazer Salgado, Francis Cascaño and Alvin Santos, among many others.

Although the numbers were essentially balletic, dance technique was extended. In one, raised toes were pointed upward; in another, the danseurs approached acrobatics. A hip-wiggling contemporary ballet was rivetingly seductive and sensuous. A third combined España Cañi with Pamulinawen in a charming, provocative mix. Costumes were the last word in elegance.

With unfailing consistency, Lisa asserted her superiority over the entire ensemble through her fluidity and flawless bravura technique — arabesques were amazingly extended; fouettes, tours, impeccably swift and secure. How her wide emotive range eloquently reflected happiness, doubt, despair, ecstasy!

Pas de deux partners Nazer Salgado and Rudy de Dios were totally secure and firm in their partnering — particularly in spectacular breath-taking lifts during which Lisa seemed weightless. At one point, Lisa performed a Herculean feat, carrying her partner for an incredible while. (I saw this similar feat as I watched a foreign ballet company abroad.)

“The Rebel” pas de deux., the only dance with a storyline, portrayed a soldier (Rudy) joining the outlaws and leaving his sweetheart (Lisa) disconsolate.

Vastly arresting, “Reconfigured” showed the entire male ensemble — torsos bare, loins covered by long skirts — jumping, gyrating, twirling, cavorting and swaying in infectiously robust style to percussive rhythms.

In sum, in expressing the inevitable and expected, this review is not meant to belittle Basil Valdez’s performance. Decades ago, the American modern dance choreographer Eliot Feld created Sinatra Suite wherein the songs of Sinatra, no less, served as background for the dances.

Once again at Aliw Theater, Ballet Manila gave most persuasive credence to its claim that “It seeks nothing less than excellence with every performance and offers nothing short of it.” To Lisa and the ensemble, a thunderous “Bravo!”