An audience of about 1,000 filled Onstage, the Theater for the Performing Arts at Ayala Center Cebu, for the opening of “The Sleeping Beauty.” This most spectacular of ballets with music by Tchaikovsky and choreography after the original by Marius Petipa, served to celebrate the 60th anniversary of Balletcenter.
Fe Sala Villarica founded Balletcenter in 1951, and here she was—spry, agile, youthful—welcoming the crowd, sparkling with myriad gems of all colors. She had directed the performance consisting of an elaborate prologue followed by three acts, all lavishly staged.
The whole to do involved months of preparations for Balletcenter and its partner—the Arts Council whose vice president Vivina Chiu Yrastorza chaired the event with the help of trustees Elena Chiongbian Young and Marylou Neri.
Mariz Rallos, the Arts Council office’s executive director, was at the foyer seeing to the general efficiency of things. Near the box office we glimpsed Pina Leyson Poblete whose granddaughter Megan Chan was in the ballet as La Chatte Blance.
Dressed in an elaborate barong was Greg Aaron, Balletcenter’s co-artistic director, credited in the program as the event’s production manager.
Also glimpsed about, even in the penumbra of a dim theater, were Oche Pelaez, Tina Ebrada, Mayen Tan, who’d alternate as the wicked fairy next evening, Amparito Llamas Lhuillier, Anna Mari Llamas Dizon, Teresin Mendezona, Nena Garcia with Rosebud Sala, Vikki Hermosisima, trustee Angelina Escaño with son Dr. Clint Escaño and US Consular Agent John Domingo.
House lights flickered, an indication that the show was about to begin. As the overture played a screen flashed credits to the major sponsors: Ayala Center, Invida Philippines, Natrapharm, Calmoseptine, Unacho, International Pharmaceuticals, Julie Gandionco, Juanito Luna, Bayswater, Metrobank and Sun Star.
The Arts Council is also grateful to its corporate sponsors that help its yearly program of artistic events: Marco Polo Plaza Hotel, City Sports Club Cebu, Boysen and Juanito King Foundation.
Familiar tale
Once the curtains opened we were in a living Charles Perrault tale, more concretely in the court of King Florestan, played by Dondi Joseph, and his Queen, Dominique Riegel. They just have become parents of a baby girl, the Princess Aurora.
Pages, lords and ladies, a chamberlain, cavaliers and ladies in waiting swish about in rich robes, the ladies crowned with tiaras and adorned with jewels. Enter a Bevy of fairies with their gifts for the princess on her christening.
Each of them does a solo dance, superbly performed so as to make the audience react with enthusiasm—Monica Villarica, daughter of Rene and Marget, and granddaughter of Fe; Rey Allen Espinosa, Cecille Nolasco, Thea Pala, Sabrina Bogard, Valerie Ypil and Christine Morden.
There was much applause and a buzz of appreciation when Sheila Lendio Manlunas made her entrance as the Lilac Fairy. At the age of 7, she was a Balletcenter scholar. She grew up to dance in stellar roles, and went on to Ballet Manila. There she met and married Chris Manlunas. They went to New Zealand but have recently returned to Cebu where they teach, and dance, at Balletcenter.
The baptismal festivities are marred by the gate-crashing wicked fairy Carabosse, forcefully interpreted by Benjie Diola, theatrical director of note here and abroad, and a Balletcenter veteran. A fatal prediction that Princess Aurora will die from a prick on a spinning wheel at age of 16 is assuaged by the Lilac Fairy.
The deep sleep
On pricking her finger the princess will not die, but fall into a deep sleep for 100 years, awaiting the kiss of a Prince to awaken her. Be that as it may, all spinning wheels are outlawed from King Florestan’s realm.
The story goes fast forward to the 16th birthday of Princess Aurora, cause for celebration with garland dances and the famed rose adagio. A burst of applause greeted the entrance of Candice Adea, perfect for the title role.
Candice is a senior member of Ballet Philippines and has won international awards for her dancing prowess. She is a delight to watch, so beautiful and nimble all eyes in the audience followed her every pirouette. Of course, there was a gasp when she pricked her finger. The Lilac Fairy then dominated the scene, putting the entire court to sleep and contriving a forest to conceal the castle.
Next scene is 100 years later in the kingdom of Prince Florimund. For this role Balletcenter co-artistic director Nicolas Pacaña trained, dieted and rehearsed for almost a year and the results were patent. His easy, graceful movements brought us back to 40 years ago when he was a teener excelling at Balletcenter.
Nicolas obtained a scholarship with the San Francisco Ballet and moved on to dance with the Boston and Atlanta Ballets, doing every major lead role a male dancer can tackle. An archive of rave reviews attests to his ability.
In the Vision scene he appears with Johanna Mangubat, Balletcenter’s ballet mistress. Together they directed this scene wherein as they celebrate with villaers, they receive the visit of the Lilac Fairy. She sails a small craft on which she bears the prince across the lake to the briar rose-covered castle of the Sleeping Beauty.
Well, you know the rest of the story. Prince Florimund kisses Princess Aurora awake, and everyone else awakens, too. The King and Queen are overjoyed and give her hand in marriage to the prince. A celebration, reason for more dancing, ensues.
One of the best sequences is the Blue Bird Grand Pas de Deux, masterfully done by Chris Manlunas as the plumed creature and his wife Sheila as the Princess Florisse. Next evening alternates were Mhynard Etis and Thea Pala.
Of course, the most awaited part is the Grand Pas Deux by Candice and Nicolas. It was like a dream come true prompting many to ask, “when will Cebu see the likes of it again?”
“Come tomorrow night,” said Teresin, adding, “or the next two performances next week end.” Many followed her suggestion.
Receiving congratulations, Nicolas said next year Balletcenter will do a full-length “Romeo and Juliet” with the Prokoviev score.