REVIEW: Ballet Manila’s “Giselle”, A Mark of Excellence

REVIEW: Ballet Manila’s “Giselle”, A Mark of Excellence

This show is a testament that Giselle is still one of Ballet Manila’s gems.

Ballet is a language of movement, where the story is told solely through the body. While it is first and foremost a visual art, there are moments when a production or dancer can be appreciated purely for their aesthetic, even without fully conveying the narrative. Ballet Manila’s Giselle ensured that this was not the case. It was a showcase of true artistry and impeccable classical ballet technique. 

Ballet Manila’s version of Giselle remains the best I’ve seen in the Philippines, preserving the company’s trademark style. This 2024 staging is a celebration of Ballet Manila’s history of excellence in the romantic genre, and it marks a milestone as the company featured international guests in the lead roles for the first time. Ballet Manila was joined by Mariinsky Ballet stars, Principal Dancer Renata Shakirova, and First Soloist Aleksei Timofoyev.

Giselle is danced to the music of Adolphe Adam and generally follows the choreography of Jean Coralli, Jules Perrot, and later interpretations by Marius Petipa. It tells the tragic tale of Giselle, a peasant girl who falls in love with Albrecht, a nobleman disguised as a commoner. When the truth is revealed, Albrecht renounces Giselle in favor of his fiancée, Bathilde. Heartbroken, Giselle, who has a weak heart, descends into madness and dies. 

In the second act, Albrecht visits her grave, unaware that the graveyard is inhabited by the Wilis—spirits of women betrayed by men—who seek revenge by forcing men to dance to their deaths. However, even after losing everything, Giselle protects Albrecht from the Wilis by dancing with him and extending the time until sunrise, when he is saved. Although Giselle saves Albrecht, she ultimately leaves him as she ascends to the afterlife. This classic tale portrays a selfless woman who chooses to love unconditionally, even in the face of betrayal. In Act 1, Giselle loses Albrecht to betrayal, and in Act 2, she loses him to death.

A Solid First Impression

The ballet’s opening scenes introduced the main characters: Mark Sumaylo as Hilarion (Giselle’s rejected suitor), Aleksei Timofoyev as Albrecht, and Renata Shakirova as Giselle. Shakirova quickly established herself as the endearing peasant girl within seconds of her entrance. With youthful energy, she ran on stage and breezed through her ballonnés (a traveling jumping step), defying gravity. This step is usually unremarkable, but Shakirova executed it with such aplomb and precision that it made me sit up a little straighter in excitement for what else she had to offer. If she could make a simple step look so impressive, the rest of the ballet was sure to be a triumph.

Timofoyev, with his tall build and natural stage presence, also made a strong first impression. He looked like a convincing nobleman with his refined posture and elegant jumps. Together, they appeared a cut above the rest—expensive and impressive. What followed was just as satisfying as their strong start.

A Flawless Partnership

The August 31, 2024 performance was the first time Shakirova and Timofoyev danced Giselle together, but their wealth of experience as a pair was already evident. In Act 1, the real-life couple danced their pas de deux with charm and organic chemistry. Their approach was nuanced, with understated and relatable reactions rather than the standard theatrical gestures. A shy giggle here, a coy glance there—Shakirova and Timofoyev convincingly portrayed a young couple in love.

In Act 2, their characterization took center stage, but their partnering technique remained flawless, with not an inch out of place. Technically difficult sustained lifts seemed effortless, making Shakirova appear almost weightless. Their partnered extensions were seamlessly executed, contributing to the ethereal quality of the ballet. Timofoyev’s exceptional skill made Shakirova’s Giselle picture-perfect, adding to the ballet’s dreamlike atmosphere.

The Giselle Standard

The Philippines has had numerous remarkable Giselles. This writer’s standard for this ballet is sky-high, having witnessed the incomparable Maniya Barredo from Atlanta Ballet, who received eight curtain calls and a standing ovation, as well as the lyrical queen Anna Villadolid and Toni Lopez Gonzales from Ballet Philippines. Ballet Manila also boasts a roster of exceptional Giselles, including Lisa Macuja Elizalde, Melanie Motus, and more recently, Joan Sia. 

I’ve also seen multiple international stars portray Giselle, but Renata Shakirova’s performance was truly astounding. Her body is a finely tuned instrument with beautifully arched feet, a supple back, turned-out long legs, and remarkable flexibility. Her Vaganova technique was on full display as she executed the details of the romantic ballet genre with precision. 

In Act 2, Shakirova’s willowy figure, with her elongated neck gracefully extended and chin bowed in sorrow, contrasted starkly with the fullness of her port de bras (movement of the arms) in Act 1. The almost liquid quality of her demi bras in Act 2 demonstrated her deep understanding of the material. 

What made Shakirova a true Giselle was her ability to convey emotion through movement. Watching her dance felt like hearing her speak. Her portrayal of Giselle’s descent into madness, particularly in the betrayal scene, was unforgettable. She chose not to express anger toward Albrecht but rather disbelief and heartache. In the mad scene, she faced the audience as if she were looking into a mirror, questioning herself. I could almost hear her silently asking, “Was it all a lie? Was it just me who loved you?” Her descent into madness was an internal chaos, making her decision to protect Albrecht all the more poignant. Shakirova is an exceptional artist.

Revenge of the Wilis

Stephanie Santiago led the spirit world as Queen Myrtha, gliding across the stage with beautiful bourrées and an arresting presence against a backdrop of misty fog. She was a revelation, embodying the role perfectly with her icy stare and gravity-defying leaps. She exuded power and mystique, captivating the audience.

The Wilis (ensemble) in Act 2 demonstrated their skill with clean execution and impeccable lines. Their movements were otherworldly, adding to the supernatural atmosphere of the ballet.

Shaira Comeros and Joshua Enciso were a delightful pair, despite a few missteps. Lead Wilis Pia and Pearl Dames exuded a calming strength, performing with confidence and poise. Mark Sumaylo was a remarkable storyteller and was a competent Hilarion.

Let There Be Light

The set, enhanced by projections, was a wonderful improvement from Ballet Manila’s usually minimalistic, LED-reliant approach. However, the lighting in Act 2 was somewhat lacking. The “Avatar blue” lighting did not fully capture the emotions of the leads, and more strategic spotlights could have heightened the drama. More importantly, the most important aesthetic of the ballet was the rising of the sun signifying Albrecht’s survival but it was not at all the picturesque creeping of orange light.

My only critique for the dancers was that when Giselle died, nobody physically panicked, not even the mom (who looked too young to be a mom). The sadness was not commensurate to the shocking visual of a death.

Shining Success

Giselle is considered by many to be the Everest of ballet—one of the most challenging ballets to perform, a test that defines a company’s status. Ballet Manila has succeeded in maintaining the quality of their Giselle staging. If I’m not mistaken, this is their fifth season staging the ballet in their twenty-six years of existence. 

This show is a testament that Giselle is still one of Ballet Manila’s gems. The dancing was poetry in motion, executed with clarity, precision, and grace.

 

Tickets: Php 2000
Show Dates: August 31, 2024 – Sept 1, 2024
Venue: Aliw Theatre
Running Time: 2 hours (plus a 15-minute intermission)

Credits:
Artistic Director: Lisa Macuja
Technical Director: Carlo Reyes
Lighting Design: Carlo Reyes
Company: Ballet Manila

Cast 

Giselle: Renata Shakirova
Albrecht: Aleksei Timofeyev
Hilarion: Mark Sumaylo
Bathilde: Abigail Oliveiro
Peasant Pas: Shaira Comeros amd Joshua Enciso
Queen Myrtha: Stephanie Santiago
Lead Wilis: Jasmine Pia Dames and Jessica Pearl Dames
Page: Romeo Peralta
Berthe: Judith Olivia Po

Friends and Townspeople

John Ralp Balagot
Jessica Pearl Dames
Jessa Balote
Rissa May Camaclang
Eva Clemente Chatal
Loraine Gaile Jarlega
Shamira Veronnica Drapete
Celine Astrologo
Angelika Joie Tagupa
Ana Katharina Andes
Ana Graciela Andes
Elyssabeth Apilado
Francesca Raypon
Ainslea Elizabeth Esplana
Margarida Colaco
Sean Kevin Pelegrin
Alvin Dictado
Noah Michael Esplana
John Carl Concepcion
Jamil Montibon
Raymond Salcedo
Jos David Andes
Rodney Catubay
Jessica Pearl Dames
Rissa May Camaclang  

Wilis 

Jasmine Pia Dames
Jessica Pearl Dames
Rissa May Camaclang
Jessa Balote
Angelika Joie Tagupa
Celine Astorologo
Elyssabeth Apilado
Eva Clemente Chatal
Ana Katharina Andes
Ana Graciela Andes
Loraine Gaile Jarlega
Judith Olivia Po
Margarida Colaco
Francesca Raypon
Shamira Veronnica Drapete
Ainslea Elizabeth Esplana
Alene Tan E-Thong
Cheng Yun Jung
Sakura Murakami
Johanna Yatco