Emerging from the pandemic, Ballet Manila (BM) flexed its muscles by presenting its first full-length and physically demanding classic “Don Quixote.” Parading the company’s strength after downsizing, they were fully prepared with the stamina and enthusiasm.
BM’s version was based on the work of 19th-century choreographer Marius Petipa for the Mariinsky Ballet, with historic enhancements by his colleague Alexander Gorsky. It was restaged for BM in 1999 by Sergey Vikulov and Tatiana Udalenkova, Russian mentors of artistic director Lisa Macuja Elizalde.
In her opening remarks at the gala, Elizalde mentioned some trivia: Meelis Pakri, who taught Latino guest artist Esteban Hernandez at the Royal Ballet School, was her classmate at the Vaganova Academy of Russian Ballet. As we watched “Don Q,” the Old World manners and pure classicism, imparted by Pakri, were evident in Hernandez’s partnering.
Pursuing a dream
Though the three-act ballet is famous for its virtuosic dancing, Elizalde focused on creating an atmosphere of spirited merriment and telling a clearer narrative with her additional choreography. Her “Fandango Pas De Quatre” for the lead soloists was well applauded. The ballet began with Don Quixote (Arnulfo Andrade), a knight who was immersed in dreams of pursuing Dulcinea, his ideal woman. He and his squire, Sancho Panza (Alvin Dictado), hied off to a town where the innkeeper Lorenzo (Martin Lawrance) made a scene resisting the relationship between his willful daughter, Kitri (Jasmine Pia Dames), and a barber, Basilio (Esteban Hernandez). Then a ridiculously dressed and bewigged wealthy suitor, Gamache (Gerardo Francisco), came in and expressed his intentions to marry Kitri.
When the dazed Don Quixote saw Kitri, he mistook her for his vision of Dulcinea, and interfered with Lorenzo’s obstruction of the romance. The couple fled and found themselves in a gypsy camp. Following their trail, Don Quixote confronted a windmill as a monster that would endanger Dulcinea. He then fell into a dream sequence wherein Kitri danced as Dulcinea.
Kitri and Basilio ended up in the tavern where Lorenzo and Gamache pursued them. Don Quixote entered as a deus ex machina to solve the lovers’ dilemma. In the end, they celebrated their marriage with the famous Grand Pas de Deux, a glorified dance showdown.
Ballet multitasking
Some of BM’s principal dancers Jasmine Pearl Dames (Pia’s twin), Joshua Encisco and Romeo Peralta multitasked in the ballet, each infusing their supporting and ensemble roles with their strength and stage presence. The well-rehearsed corps de ballet was well-applauded, particularly in the seguidillas and the virile gypsy dance.
Dames transformed from an exuberant Kitri into a delicate doppelganger of Dulcinea, displaying her range in the two roles. Wiry at 4’11”, she demonstrated muscle strength in controlling the movements, suspended balances, clean lines and quick footwork.
A principal dancer of San Francisco Ballet, Hernandez impressed with his suave pirouettes and soft landings coming out from the circuit jumps and aerial turns. The audience gasped when he held Dames aloft with one hand—she in an overhead arabesque lift—for several seconds while the taped music paused. If he were accompanied by a live orchestra, Hernandez would have had everyone waiting at his leisure before he brought Dames back to the stage.
Hammy
A rising star in the West Coast, Hernandez displayed good schooling not only in his technique but also in his intelligent interpretation of roles and decorum with fellow dancers. He adjusted to Dames’ version of Kitri, which she had grown accustomed to since her debut in 2017. Likewise, Dames modulated her acting to complement her partner’s natural style. Their understated acting was a foil to the overly theatrical characterizations of the other cast members.
Francisco made everyone laugh with his hammy Gamache but wowed them when he spun with one leg at a 90-degree angle. Lawrance played a larger-than-life Lorenzo, Andrade made a stoic Don Q while Dictado was a lighthearted, comical Sancho Panza.
Abigail Oliveiro played a kittenish Esmelda to the cape-twirling machismo of Espada, danced by Mark Sumaylo. Both imbued their dancing with their star personalities. Vying for the best dramatic backbend, she went for depth while he went for chutzpah.
The soloists had the muscles to perform their tough variations. I would have enjoyed their performances had they shown musicality, maturity and polish. They were either a beat ahead or behind the music. Some of the dancers tended to rush, such that I couldn’t see the full expression of the movement and the suspension that would have made dancing look light and lyrical. Nevertheless, the production charmed the children at the gala as they giggled in Gamache’s scenes, and when Sancho Panza was tossed in the air by the townspeople.
The ultimate spectacle was the dancers’ joy at performing in live theater gain.
