Ballet Philippines’ “Romeo and Juliet,” choreographed by National Artist for Dance Alice Reyes, was—I am mortified to admit—my first time to write about ballet in the country since I came back from Boston almost six years ago.
Men flew in white skirts and women struck sharp poses in shorts, midriff tops and pointe shoes. The energy was so compelling throughout Bam Damian’s piece, “After Whom,” set to the electronic music of composer-turned filmmaker Jerrold Tarog, that every performance concluded in thunderous applause.
For the past few years, Ballet Philippines has been showcasing “the best of the best,” from their seasons, leading up to its golden year in 2019. While it is a path down memory lane for supporters of the company, it also showcases the development of dancers’ techniques, balletic “attacks,” the transitions of which may be based largely on perhaps more advanced training modules, and a natural energy inherent in young dancers of today. And now with founding artistic director, National Artist for Dance Alice Reyes, back in the helm, all things are abuzz. Her presence is a much-needed shot in the arm.
“Nakakahiya! Matanda na talaga ako.” (It’s embarrassing! I’m really old.) This was Agnes Locsin’s reaction when she was told she would be a recipient
In 1997, artistic directors of the leading professional theater and dance companies in Manila were invited to a luncheon at the Manila Polo Club
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In the musical category, 9 Works Theatrical and Globe Live’s production of Disney’s “Newsies” is the front-runner
Ballet Philippines, a resident company of the Cultural Center of the Philippines (CCP), ends its 48th season with a beloved warhorse, which deserves to be
“I really love the role of Kitri,” Candice Adea says. In the ballet drama, which is taken from an episode of Miguel de Cervantes’ novel,
For the last quarter of 2017, Resorts World Manila’s production of “Chitty Chitty Bang Bang,” the British fantasy musical about an eccentric inventor and
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