Premier danseur Nonoy Froilan, 63, makes a comeback as Ebenezer Scrooge in Ballet Philippines’ “A Christmas Carol.”
At the peak of his career, he and partner Lisa Macuja, then Ballet Philippines’ artist-in-residence, finished their pas de deux in the 1987 “La Bayadere” and left the audience cheering “Bravo!” He was exhausted from a night of leaps and lifts.
After a series of beaten jumps in his solo, he had landed awkwardly and injured his knee. After the show, he thought he could never dance again.
However, he managed to perform, with therapy, until 1994. Now retired, he has been focusing on videography and teaching.
Two decades later, he is back on the stage. And the familiar knee pain is back as well.
“With this injury, I can’t turn, kneel or get up. But it helps with my characterization,” jests Froilan. “Although I play an old man, I can’t dance like one.”
Also, being off from dance for so long, it has been taking him more time to learn and memorize the choreography. “I used to pick up steps at a snap of a finger,” he recalls.
Familiar tunes
Wife Edna Vida, who choreographed “A Christmas Carol,” has faith in him because of his powerful stage presence.
He and his alternate Butch Esperanza have the gift of spontaneity on stage.
Vida is making Charles Dicken’s classic accessible to younger audiences by mixing ballet, jazz, musical theater and hip-hop. To a generation that doesn’t understand pantomime, selected passages from Dickens’ novel will be flashed on the screen to explain the stage action.
The 90-minute dance stays true to the plot about a miser named Scrooge, who is haunted by his late partner Jacob Marley while ghosts reveal his past, present and possible future.
“The story is dark, and I don’t want to scare the kids with these ghosts,” says Vida.
To make it a feel-good experience, she uses familiar tunes, classic carols like “Joy to the World,” retro hits like Bing Crosby’s “Accentuate the Positive,” and the Andrews Sisters’ “Roll out the Barrel.”
She spices it up with some quirky touches such as Bob Crachitt playing the violin while Scrooge and his clerks are counting money.
Froilan, a naturally jovial person, is challenged by playing a grumpy old man. “I have to start acting masungit (crabby) at home,” he says. “I hope it doesn’t affect my driving.”
I have danced on the stage for over 24 years. Every time I came out, there would be butterflies in my stomach no matter how much I had rehearsed. I will know if I can manage the stage nerves when I get onstage this time,” he says.
Into character
Esperanza has danced for BP since 1976 and had a stint with the Singapore Dance Theater. He also did commercial work in big hotels in Japan. At 55, he can still keep up with the dancers in class.
“But when it comes to the big jumps, leave it to the younger ones. I come home with sore muscles,” he says.
Vida describes his portrayal as “sensitive.”
He teaches at International School of Manila and works as a freelance choreographer. Girding for this role, he shed off 15 lbs by running around the ISM oval track.
He also studied Jim Carrey’s interpretation of Scrooge, the intimidating persona of the late Johnny Delgado, and the distinguished character of Noel Trinidad.
At rehearsals, he confidently executes his steps and easily slips into character.
“Butch does his homework,” says Vida.
A different person
An actor by training, BP principal dancer Jean-Marc Cordero faces the challenge of transforming into an old man.
While Froilan envies Cordero for learning quickly, the 27-year-old danseur is daunted by Froilan and Esperanza, who are men at the right age (euphemism for men over 50).
“They have the natural looks,” says Cordero. “All they have to do is learn the steps. Although I know the dance, my problem is physicality.”
He says the loss of agility and weight gain that come with age can’t be faked. Every day, he would observe both men to acquire the mannerisms of mature men. He puts on a wig to make him look the part.
“Every time I look at the mirror, I see myself,” he says. “The wig will help me get into character. If it is pangit, I am fine with it. At least, I’m a different person.”
Cordero will also play the young Scrooge when Froilan plays the old Scrooge.
Before performing, Cordero goes through the motions of the choreography. “I have to make the movements second nature. I rehearse to the point that I don’t have to think of the steps anymore so I can explore my emotions.”
“A Christmas Carol” runs Nov. 30-Dec. 8, at the CCP Main Theater. Call 5511003, e-mail info@ballet.ph; visit www.facebook.com/balletphilippines.