After suffering a critical blow struck by the pandemic, Philippine Ballet Theatre (PBT) is back on its pointe shoes again.

For nearly three years, PBT dancers survived on a modest food allowance, odd jobs and online classes, but with no performing opportunities and digital content, unlike other companies. Some veterans found dance jobs elsewhere, leaving PBT with greenhorns. Despite the odds, PBT is banking on its resilience and united front to take a leap toward its 37th season.

The new season’s repertoire will be choreographed by artistic director Ronilo “Ron” Jaynario, starting with “Ibalon,” a contemporary ballet inspired by the Bicolano epic. In this new work, you will not only be won over by the boyish charm of Matthew Davo as the epic hero Handyong, the expressiveness of Jessa Tangalin as the cursed princess/snake, the effortlessness of Justin Orande and the rawness of Dom Delmo, both as the hero’s buddies. You will also be mesmerized by the pulsating superhero score layered with traditional Filipino instruments and the teleserye/pop music sensibilities of composer Paulo Zarate.

The concept was born out a need for a new Filipino repertoire for the US tour late this year. PBT’s signature “Vinta,” Gener Caringal’s ballet inspired by the billowy sails of the boats in Southern Mindanao, raised copyright concerns over the use of Vangelis’ music. Moreover, the board wanted to present singkil, a Maranao dance over clapping bamboos, in pointe shoes, to the Fil-Am audiences.

Artistic license

Noting that most Filipino contemporary dances referenced the Cordillera and the Muslim cultures, the Sorsogon-born Jaynario looked into the epic “Ibalon,” the original name of the Bicol region. It’s about the bravery and kindness of Handyong, and his friends Baltog and Bantong, who fight the monsters that endanger Ibalon. Oryol, a giant serpent who is a princess at night, helps Handyong fight these monsters. Yet, only love can free her from the spell and transform her into a princess again.

In this ballet, Jaynario uses artistic license to focus on the love story and to develop motivations for Oryol’s attraction towards Handyong. He adds that the story has its symbolisms. Monsters attacking Ibalon represent China’s unlawful takeover in the West Philippine Seas. The festivity scene with dances from different regions suggests unity in the country.

PBT commissioned Zarate, whose wife is a former dancer, to score the ballet. He was won Katha, Awit and Aliw awards for his work in pop music. His background in scoring for TV soaps, K-drama, movies and pop concerts is reflected in the grand and complex music that amplifies the stage action. Likewise, choir music highlights dramatic moments. He balances heavy percussion and orchestra with the subtlety of Filipino instruments.

A 20-minute prologue on Handyong’s sea journey to Ibalon pays homage to the vinta. Colorful fabrics as sails unfurl as the musical strings glide down in the melody. Zarate keeps the music exciting by playing with different harmonies, rhythms, big drums and other instruments that evoke the water world, the journey from one island to another and the arrival of warriors.

The music is at times forceful with the composer’s penchant for huge drugs that evoke grandeur.

The main action happens in the kingdom of Gat Ibal (played by PBT alumnus Joel Matias). It starts with festivities of the pantomima, the folk dance of Bicol, and dances from Cordillera and Muslim Mindanao.

Zarate creates recurring musical themes to represent the characters. The kudyapi (Filipino lute) and percussion score the jumps, turns and cartwheels of Baltong and Bantong. The plucked strings on the violin and the grand orchestra musically depict the movements of Oryol. The tenderness between Handyong and the cursed princess is expressed through the lute, nose flute and gentle orchestra music. Brasses, drums, and choir, with the soft contrast of the nose flute, define the heroism of Handyong.

“Ron is a good storyteller,” says Zarate, citing the choreographer’s attentiveness to detail and exacting nature.

Seamless movement

Jaynario’s creativity, seamless movement logic and ability to challenge dancers have enabled him to choreograph many of PBT’s popular pieces. This season, he will premiere new dances set to Filipino popular music such as “Nais Ko” and “Saranggola ni Pepe,” accompanied by international concert pianists Raul Sunico and Rudolf Golez in September. Come December, PBT will showcase its signature ballet, “Nutcracker,” at Newport Theater. Jaynario reworked some parts of the choreography of Gelsey Kirland and husband Michael Chernov and added more special effects.

Jaynario rose through the ranks from pioneering dancer to one of the two longest-serving artistic directors at 14 years (the other being Gener Caringal). Under his direction, he earned the trust of the board and the founding Artistic Council. Under Jaynario’s direction, new pieces were created that not only appealed to the audience but also showed the strength and beauty of the dancers.

For two years, PBT was heavily impacted with the shutdowns. Yet Jaynario kept a positive attitude and a resolute work ethic. Hope came when Armita Rufino, head of Filipino Heritage Month, organized PBT’s concerts in May 2022 in Negros Occidental and sponsored the rehearsal studio.

While its former home, Meralco Theater, is under renovation, PBT opened a studio at Estancia Mall last summer. Last October, the company performed in New York and Los Angeles to Filipino communities. Later this year, PBT will go on tour yet again in the US with a new repertoire including the voyage suite of “Ibalon.” As PBT treads the boards again, the audience can expect what it delivers best: crowd-pleasing numbers with a lot of heart. —Contributed INQ

PBT’s “Ibalon” will run at 8 p.m. on July 28 and July 29 at the Samsung Performing Arts Theater. For ticket inquiries and reservations, contact tel. 86711697 and 0968-8708887; message their social media platforms on Instagram or Facebook.