It could have been the Tatler Ball transported to the Samsung Theater were it not for the coterie of young bunheads in attendance. Manila’s crème dela crème in varying dress codes, from evening gowns to classic suits, filled up the loge and parterre boxes to watch “ABT Studio Company: Rising Stars” on April 20.
The surnames of the crowd reflected the social register—Zobel, Elizalde, Tantoco, Lagdameo, Tambunting, Montinola, Puyat, Delgado, Floro, Ongpin, Preysler, Zubiri. National Artist for Dance Agnes Locsin skipped technical rehearsals at the Met to watch the show. Arts patroness Irene Marcos-Araneta has always been a fixture in these events. Madrigal heiress Ging Gonzalez-Montinola made a rare appearance. First lady Liza Marcos arrived in the same elevator as Sofia Zobel-Elizalde, the event’s prime mover.
“ABT Studio Company: Rising Stars” was a twin-bill program of the junior company of the prestigious American Ballet Theatre (ABT) and the acclaimed international concert pianist Cecile Licad.
A fundraising event of Steps Dance Studio for the Ayala Foundation’s Center for Excellence in Public Elementary Education, the concert was the second for the ABT Studio Company in the Philippines since 2019. As a member of ABT’s Global Council, Steps founder Elizalde, a former dancer, is committed to bringing the American company to the local communities.
This diverse group of dancers, between the ages of 16 and 21, is being groomed for careers in the big league. The repertoire highlighted abstract contemporary ballets choreographed for these emerging talents, but some classics added contrast to the program.
Men dancing
The highlights of the evening were the standout performances of the boys. It was a homecoming for Vince Pelegrin, alumnus of Steps, who impressed with his speed while maintaining tidy footwork. He breezed through his solo, “Tatum Pole Boogie,” with different dance styles set to fast, rhythmic tempo.
Pelegrin and Sylvie Squires were cast in the neoclassic bravura “Tchaikovsky Pas de Deux” by George Balanchine. Although they had the strength to perform the work of a legend, they needed to mature into the piece to acquire the Balanchine style, precision and musicality.
Kenneth MacMillan’s “Concerto” was a languorous pas de deux with lilting leg extensions and fluid arm movements. Long in limbs, Kyra Coco and Finian Carmeci can still develop the sensual poetry required for this piece.
Japanese dancer Takumi Miyake was the darling of the show as he burned the stage with his fierce presence. The audience raved over his jaw-dropping, phenomenal skills, his fierce attacks, ricocheting jumps and effortless pirouettes in the classic “Flames of Paris.” His partner, Madison Brown, performed with brio.
ABT apprentice Aleisha Walker originally choreographed “Do You Care” as a women’s competition piece for Madison Brown that involved high legs, drops, arm balances and quirky arm movements. As a male version, Brady Farrar injected soul and breadth into the choreography.
The three ensemble pieces were all characterized by different music sections that dictated the patterns and movement dynamics. Set to a consistent rhythm, “Knife’s Edge” by Houston Thomas broke balletic conventions. “If it Ain’t Baroque” by Hope Boykin explored rhythmic nuances and earthy movements with contrasting classical strains. Gemma Bond’s “The Go Between” captured in movement the differing moods of 18th-century Italian composer Domenico Scarlatti.
Thomas, Boykin and Bond are up-and-coming choreographers. But after watching three plotless dances with similar formats, the program flatlined a bit.
Nonetheless, the young dancers wowed the crowd with their athletic prowess, countered by expressive and rippling torsos. The coaching and intense training were reflected in their crisp technique and fearlessness.
Across the keyboard
Licad commanded the stage in the second part of the concert. Her “warm-up,” the virtuosic and speedy “Tatum Pole Boogie” by jazz icon Art Tatum, accompanied Pelegrin’s performance. The piece de resistance, Chopin’s Etude Op. 25 series, was a showcase for dexterity. The “Winter Wind” section demanded stamina and exactness. Licad showed off the dazzling runs across the keyboard, the delicate articulation of the fingers in playing the complexities of the melody. Her cross hand technique was effortless in the “Ocean” étude. It showcased her rippling fingers undulating through various intensities that ended with grandiose panache.
In the finale, “The Go Between,” Licad infused Scarlatti’s music with a balance of seriousness and delight, sharpness and suaveness. She maintained a graceful phrasing while keeping the rhythms upbeat.
The arts world expressed gratitude to Elizalde not only for producing a world-class talent such as Pelegrin through her school, but also for bringing in top-caliber talents, a fresh repertoire, a rare chance to see duets by Balanchine and MacMillan, and Licad, who added glamour and sophistication. —CONTRIBUTED