Marvelous dancers render Phl version of Cinderella

Hazel Sabas-Gower, head of her own Phl-Spanish Dance Company in Madrid, imaginatively choreographed “Sinderela”, a Filipinized version of the Grimm brothers’ fairytale, retaining the main characters: Sinderela, her cruel step-mother Traviesa and equally cruel step-sisters Avaricia and Media, and Sinderela’s Prince Charming, Principe Alcantaro.

Before the curtains figuratively opened, a series of tableaux of isolated scenes suggested forthcoming episodes, thus heightening audience curiosity.

Sinderela is treated like a maid. She tends the garden among other chores. A beggar arrives and is shown by Sinderela.

With ballet audition instead of the royal ball, Traviesa and her daughters take last-minute ballet lessons — these make for a funny scene —  while Sinderela surreptitiously watches, proving to be the superior dancer. The beggar, Tita Nia, actually an influential woman in disguise, enables Sinderela to attend the audition initiated by Principe Alcantaro who, in search of a leading lady, finds her in Sinderela.

At midnight, Sinderela, who must return home as Tita Nia’s condition, abruptly disappears, leaving behind a shoe. The rest of the story conforms to the fairytale: With the shoe fitting Sinderela’s foot, she and Principe will live blissfully forever after.

Jennifer Rose Olayvar, a dainty, petite, winsome Sinderela, was light on her toes, acting and miming fetchingly. Her dance with the broom, a clever choreographic piece, was a refreshing highlight of the opening scene. Jonathan Janolo, Gerardo Francisco and Michael Divinagracia —Traviesa, Avaricia and Media, respectively — danced and emoted amusingly, and as grotesquely as their weird costumes dictated. All three enlivened the scenes tremendously; how they learned their first ballet steps in harum-scarum manner!

Statuesque, trim and virile, Nazer Salgado as Principe Alcantaro fitted his role to near perfection. He exuded exciting flair and dash; his pas de deux with Sinderela conveyed admirable control as he lifted and carried Jennifer to spectacular heights, and made smooth landings in his double-air turns. The roles of Alcantaro and Sinderela, strenuous and challenging, were portrayed with remarkable stamina by the pair, with sweep and elegance by Salcedo.

Rudy de Dios as casting director had a very brief but extremely well-executed role. The step-mother and her daughters exhibited considerable dancing skill while tickling the risibilities.

The tale unfolded and progressed with what seemed an overly big cast. There were mystical beings, garden spirits, time clock spirits in addition to the principals and the auditioning dancers. The diverse characters constantly entering and exiting did not quite constitute full integration, thus tending to confuse the viewers to some extent. Presumably, Gower felt each of the many dancers had to be given an opportunity to shine.

Nevertheless the over-all, over-riding impression was that of marvelous dancing throughout by the soloists and the corps de ballet. Without exception, all appeared rigorously rehearsed and disciplined, demonstrating the highest standards of classical dancing.

Furthermore, the ensembles showed consistent precision and flawless synchronization in various alignments.

The descriptive set designs of Katsch Catoy were resplendent, eloquently reflecting the episodes; the costumes of PJ Arañador left nothing to be desired.

The gala program opened with “Sonata”, exquisitely choreographed by Osias Barroso to music by Elgar which was impeccably interpreted at the rear of the stage by guests artists Richard Atchison, violinist from London, and Olga Dudnick, pianist from Ukraine.

Leads Dawna Reign Mangahas and Elpidio Magat and the rest performed with fluid grace, restraint and vibrance.

In conclusion, Lisa Macuja Elizalde, Ballet Manila’s artistic director, showed graciousness and generosity by staying in the background — though she is the star ballerina — and allowing each dancer to project his/her individual talent. Also it was not the first time Lisa had given a Filipino choreographer a chance to display her craft. There were countless others in past programs.

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Hearty congratulations to prima ballerina Lisa for garnering Aliw’s “Entertainer of the Year” award, and three trophies for being best classical dancer, for heading the best ballet company as artistic director and principal, and for her indispensable collaboration in “The Legends and the Classics”. My reviews attest to how richly Lisa deserves the awards as well as the recognition for her tele-radyo program of interviews in “Art 2 Art”.