Who cares about ballet and the performing arts?
The Timothee Chalamet dismissal of ballet and opera was a trending online topic leading up to the Oscars, with many calling him a vapid and shallow philistine. That same week, the cultural calendar in Manila was full with ballet, concerts and theater shows that had capacity crowds giving standing ovations, showing that—contrary to what the Hollywood actor said—people still care about the performing arts.
And you could see why, at the gala of A Chorus Line, presented by Theatre Group Asia at Samsung Performing Arts Theater. This all-Filipino production assembled some of the best creatives as well as triple-threat artists from a global search to create a contemporary version of this 50-year-old Tony-award winning musical that can proudly stand beside previous iterations.
Emmy-award winner Karla Puno-Garcia, who made history as the first Filipina and woman of color to choreograph the Tony Awards, makes a mark again with her astute direction and choreography that explores the individuality of each dancer through the original score of Marvin Hamlisch, with the musical direction of Farley Asuncion. Puno harnesses each dancer’s gifts while bringing them to work beautifully together as an ensemble.
The tension and excitement is kept at optimum level in the audition scenes, as the director Zach, played by Conrad Ricamora with a commanding authority, dominates the proceedings even at instances when you only hear his voice in the darkness. He gives the character depth as he empathizes with the dancers, uncovering their motivations to feel the emotional weight of their confessions; and shows vulnerability when it comes to Cassie (Lissa de Guzman), a former lover who returns to audition for the chorus even after she was already a star. De Guzman’s portrayal is as nuanced, layered with all the past hurts mixed with humility and earnestness to get the part, a mix of emotions that are articulated in her showstopping Music and the Mirror.
Richardson Yadao makes the perfect Larry, Zach’s right hand, with his command of the stage, reflecting his experience as a professional dancer, choreographer and educator at the country’s top ballet companies. Angelo Soriano also stands out, his Broadway credentials giving him the confidence, acting and dancing chops required of Mike in I Can Do That.
At the Ballet, another high point, is rendered achingly poignant by the trio of Sheila (Mikaela Regis) Bebe (Michaela Marfori) and Maggie (Iya Villanueva). They nail it individually and together, blending harmoniously as they relate escaping their troubled home lives through dance.
Ken San Jose as Mark Anthony essays all the youthful naivete needed in messy adolescence while displaying his versatility in dance in the delightful Hello Twelve, Hello Thirteen, Hello Love.
Sing!, on the other hand, is hilarious, thanks to the comedic timing of Jordan Andrews and Sam Libao as the couple Al and Kristine. Libao is a hoot as the squeaking and croaking tone-deaf actress.
Providing equal comic relief via “tits and ass” is Brie Chappell as Val in Dance: Ten, Looks: Three, showing all the skills of a consummate dancer, singer and actor with the looks to match.
Just as outstanding and absolutely critical to this production are the sets and lights. Scenic designer Miguel Urbino employed mirrored panels that were like dancers themselves and part of the choreography, moving in wondrous configurations and reflecting both movement and feelings that were transpiring on stage. The emotional journey of the characters was further enhanced by the lighting design of Cha See who also makes the lights dance with the performers, highlighting their bodies while capturing the soul of the story.
The final scene, One, was quite overwhelming as each dancer was introduced again individually before dancing in perfect unison as an ensemble and intertwining together like a piece of sculpture, a work of art given due reverence by the lighting in a dramatic, haunting chiaroscuro. It was like each of them had to die to themselves, making the sacrifice that was needed to be an integral part that makes the whole possible.
It’s the passion and sacrifices made for one’s craft that artists share across all disciplines. At Ballet Manila’s Sleeping Beauty, reimagined by artistic director Lisa Macuja-Elizalde, it was the perfect union of dance and music together with the Manila Symphony Orchestra (MSO) under the baton of Russian guest conductor Alexander Vikulov at the Aliw Theater. There’s nothing like live orchestral music for a ballet and the MSO, the oldest in Asia, with 100 years of training the most talented musicians, played with precision in synchronicity with the performers on stage led by Shamira Drapete as Princess Aurora and Joshua Enciso as Prince Désiré. Ballet Manila has been promoting classical and contemporary dance for the past three decades, honing the skills of Filipino dancers who showcased their love for the art form that evening.
Such dedication was just as evident in Tempus Est by the Philippine Madrigal Singers at the Proscenium Theater. Hearing their heavenly voices with perfect intonation, seamless blending and a deep emotional connection to the music, it is no wonder that they have won many awards in international competitions and are the perfect ambassadors for choral music. Their Thai guests, the Bangkok Voices, were in fact inspired by them and their first conductor was Alfred John De Veyra, a former Madz member. Featuring songs by Dr. Eudenice Palaruan whose songs are in the group’s new album, the concert had many surprises including rearranged OPM favorites and even the hit song Somebody to Love by Freddie Mercury of Queen, showcasing the group’s versatility. With wild applause and even wolf whistling, the Madz obliged with encore after encore, each one just as mesmerizing as the last. Experiencing divine singing like this, you certainly would not want to let this art form die, and just like with the other performing arts, you would want them to go on forever.
