REVIEW: ‘La Sylphide’s Cryptic Karma on Spotlight

REVIEW: ‘La Sylphide’s Cryptic Karma on Spotlight

This show makes it evident that Ballet Philippines has a wonderful ensemble of dancers who deserve to remain at the forefront of their performances. They don’t have just one bright star; they have many.

Ballet Philippines (BP) premiered a new addition to its classical repertoire at Solaire last weekend. La Sylphide played an important part in 18th-century ballet history. It was a turning point that elevated ballet to high art, introducing the romantic ballet era with innovations like pointe shoes and tutus. It generated interest from both new and old audiences. 

Ironically, this time for BP, La Sylphide had the same glorious effect for opposite reasons. 

The return to unadulterated classics, for this author, brought back the interest of real balletomanes. The semi-purist approach in staging re-established BP’s capability to delight audiences simply by showcasing the capacity of their dancers without the need for frills. It was lovely to see a ballet where the dancers alone were in the spotlight.

Quality Dancing

I watched two casts of La Sylphide on August 11, 2024. Both casts displayed a very high level of technical ability. Despite being the first romantic ballet, La Sylphide’s choreography is very difficult. Act 1, usually referred to as the human act, is performed almost entirely on soft shoes. The absence of pointe shoes does not mean the choreography is easy. It includes numerous small and quick beats and footwork acrobatics performed by the ensemble. Particularly for the male solos, they may appear easy without modern-day tricks, but executing the material cleanly is actually very challenging. The Bournonville style of dancing, which is used in La Sylphide, utilizes minimal and held arms, requiring the dancers to rely on the power of their legs and core for leaps and turns. 

In Act 2, the ballet shifts to an ethereal look that demands a completely different type of dancing. The earthy choreography is replaced by a sense of lightness. Floating balances and soft arms in abundance dominate the stage. That being said, this ballet demands not only pristine technique but also a significant amount of emotional expression as it is a story ballet. 

Overall, BP was triumphant in doing justice to this ballet, providing the distinct contrasting shades it needed to come alive. I would say this is BP’s redemption piece, re-establishing the company as a force to be reckoned with.

Cryptic Karma

The curtains rose to reveal the leading man, James, asleep and a sylph (a mythical spirit) by his side. A sylph had fallen in love with a human and wished to seduce him away from his fiancé, Effie, deterring his wedding. As the wedding preparations went on, a witch entered the assemblage of characters, much to the dismay of the rude James. She foretold the future, revealing that Effie was destined to be betrayed by James and would marry Gurn, who is James’ rival. In complete anger, James threw her out of the house.

James, completely captivated by the Sylph, was lured into the forest. Amidst the chaos of wedding preparations, Effie realized she had lost her groom and was devastated. In the forest, James found the witch, whom he rudely addressed. Wickedly, she offered him a scarf that ensured the Sylph would be forever bound to him. He accepted the scarf and reunited with the Sylph, excitedly placing the scarf around her body. But the witch was on a quest for revenge; the scarf severed the Sylph’s wings. James cried out in sorrow as the Sylph withered and died in his arms. As the Sylph transcended mortal ground, he witnessed his fiancé marrying his best friend. Weakened by heartache, the witch finished him off, resulting to his death. Karma was in full display, showing no mercy for an unkind and disloyal man.

The ballet opened with the dancers very dimly lit. The dancers, however, did not need much light because they brought their light from within. Darkly lit, they radiated with energy, setting the tone for the rest of the evening. They were determined to entertain, and they did.

In the matinee show, James was played by Ian Ocampo, who performed with obvious maturity. His dancing flowed like a stream of thought, continuing the conversation with every step. His portrayal depicted a pompous man who couldn’t resist falling in love with the Sylph, showing little regard for Effie. His approach made his death in the story bittersweet and ever so justifiable. On the technical side, he looked every bit prepared, showing off sure-footed beats with no signs of fatigue in the most difficult sections.

Ocampo’s Sylph was Jemima Reyes, who was technically superb. The fullness of her jumps was satisfying and, I would dare say, almost enchanting. Her grand jetes (leaps) ascended weightlessly with darting speed. Her arabesque balances were sustained and clean, with her carriage held high and soft, which is consistent with the style. While her impish characterization was genuinely entertaining, my favorite part of her dancing would probably be her sensitive portrayal of her death. I felt her disappear with her withering arms and softened glaze. I felt her vanish before my eyes, bringing the fantasy world closer to home. Partnered with Ocampo, who conveyed grief so beautifully, it evoked a moment of profound sorrow and left my eyes a bit misty.

The evening show brought forth a different take on the emotional narrative, but it was equally intoxicating. Rudolph Capongcol was a cerebral James with an elegant countenance. His infatuation with the Sylph was impulsive, like an irresistible drug. His technical performance was equally convincing. His two solos were flawlessly executed, with beautiful ballon and effortless cabrioles that seemed to defy gravity. His Sylph was the revelation of the evening. 

To my knowledge, Regina Magbitang had never danced anything from the romantic ballets before. Known for her feisty bravura style, Magbitang embodied femininity as the curtains rose. Her transformation was complete. As the Sylph, she was still naughty and sweet, but there was a seriousness in her desire for James. There was a newfound sophistication in her softness that I had never seen before. It is quite obvious that she had put a lot of work into her technique. The little details elevated her performance—articulated feet, graceful melt through on pointes, wonderfully held back and expanded port de bras (movement of the arms). Her seductive spontaneity created an interesting contrast with Capongcol’s steely gaze, and together they were a perfect fusion of fire and ice.

I was particularly impressed with Clarise Miranda, who thoroughly embraced the essence of the era. While all the leads and soloists delivered, her style was by far the most authentic to that time period. Her emotional restraint was the perfect touch to complete the performance, and I eagerly anticipate seeing her in future lead roles.

The secondary leads also showed flavorful dancing. Dani Kleiner was sweet and endearing as Effie, while Nicole Barroso portrayed a delicate and devoted Effie. Eduardson Evangelio portrayed an aggressive and passionate Gurt, in contrast to Carlo Padoga’s self-assured, confident and calculating portrayal. I loved the variety among the performers. It reflects the freedom given to the dancers in navigating their art.

Confusion

If there was anything to nitpick on, I would say the choreography of the Witch could be refined. While I thought veteran character dancer Peter San Juan delivered an amazing job in his characterization, I was confused about whether the Witch and their friends were intended to be portrayed as men or women. Madge was described as a woman, and the costume also seemed to indicate this. I feel the choreography and execution should have aligned.

In Act 1, James throws out San Juan effortlessly and if he was indeed a warlock, that would seem quite off. Having said that, his portrayal was pivotal in the storytelling, and the mismatched choreography did not detract from the magic of the overall performance. On another note, the synopsis mentioned showcasing something uniquely Filipino, but I found this to be a disservice to the Scottish culture as this element was not evident at all. 

Overall Triumph

Despite some elements that may cause confusion, this ballet is a triumph for me. I look forward to seeing more ballets of this caliber.

This show makes it evident that Ballet Philippines has a wonderful ensemble of dancers who deserve to remain at the forefront of their performances. They don’t have just one bright star; they have many. May audiences come to know them better and better through timeless classics that allow them to reach their fullest potential.

Show Dates: August 9-11, 2024
Venue:  The Theatre at Solaire
Running Time: 1.5 hours (without intermission)
Credits:
Artistic Director: Mikhail Martynuk
Technical Director: Luis Alcoran
Lighting Director: Clifford Remolador
Company: Ballet Philippines
Cast:

Sylphide: Jemima Reyes/Regina Magbitang/Nicole Barroso
James: Rudolph Capongcol/lan Ocampo
Gurn: Eduardson Evangelio/Carlo Padoga/Mark Anthony Balucay
Effie: Nicole Barroso/Idele Buhia/Danielle Kleiner
Mother: Ramona Yusay
Friend of Effie: Clarisse Miranda
Guests: Mark Anthony Balucay Emmerson Evangelio, Elijah Roca, Justin EdnaveCarl Lacaba, Earvin Guillermo, Carlo Padoga, Eduardson Evangelio,Joanne Gullermo, Idelle Buhia, Danielle Kleiner, Gia Gequinto, Olivia Bugayong. Ellạ Longgat, Ceana Armamento, Anielle Armamento, Karmin Loy, Mayim Hilomen, Alejandra Rovero, Pia Cabungcal, Anna Soriano
The Musicians: Alexis Piel, Cris Jay Malipot, Elijah Roca, Andrei Donesa, Justin Ednave
Warlock: Peter San Juan
Vassal: Elijah Roca, Justin Ednave, Cris Jay Malipot, Alexis Piel
Pas de trois: Regina Magbitang, Jemima Reyes, Clarise Miranda, Nicole Barroso, Daniele Kleiner
Sylphides: Clarise Miranda, Nicole Barroso  Regina Magbitang Danielle Kleiner, Olivia Bugayong, Gia Gequinto, Joanne Guillermo, Ramona Yusay, Idele Buhia, Eila Longgat, Ceana Armamento, Anielle Armamento, Karmin Loy, Mayim Hilomen Alejandra Rovero, Pia Cabungcal, Anna Soriano, Olivia Bugayong. Ellạ Longgat, Ceana Armamento, Anielle Armamento, Karmin Loy, Mayim Hilomen, Alejandra Rovero, Pia Cabungcal, Anna Soriano