The Arts

A FESTIVE NUTCRACKER AMIDST APEC-INDUCED TRAFFIC

By Pablo A. Tariman
Manila
November 18, 2015



        Indeed, the ballet brings you back to that time of the year when Christmas was pure and peaceful and didn’t usher with news of suicide bombers wreaking havoc in a concert hall.

        What probably makes this version special is the participation of some 100 young dancers  from several dance studios in assorted roles from the young army of the Nutcracker and the children of  the Mother Ginger (danced with pizzazz by Rolby Lacaba) to the playmates of Clara.

        The first act featured a well-choreographed party scene in the Silberhaus household with two naughty boys taking turns making fun of  the godfather, Herr Drosselmeyer (Anatoly Panasyukov). This Russian revealed a high level of character dancing which made him stand out in the party scene.

        The fight scene led by the fierce Mouse King was most engaging with the little Nutcrackers aiming their guns at the rats with make-believe ammunition that toppled a row of them instantly. It elicited muffled “wows” from the audience.

        Later in the ballet, the Nutcracker turned into a prince and here we saw the beginning of the best of Joseph Phillips as the Nutcracker Prince.

        But to be fair, there were much to appreciate in this Christmas offering not the least of which was the corps de ballet which broke out into little ensembles as the dancing snowflakes.

        This part got spontaneous applause here and there no doubt because of the stunning choreography.

        More enchanting solo and duo variations enlivened the ballet starting with the steady and lilting Dew Drop Fairy of Kim Abrogena, the snappy Spanish dance of Rafael Artaiz and Mark Pineda, the highly lyrical Red Flute ensemble of Mailka Samson, Marika Desembrana, Veronica Atienza and Kazier Policarpio and the Russian dancing of Matthew Davo and Julafer Fegarido.

        Equally commendable is the  mother figure of  Maritoni Tordesillas and the charming dolls played by Natalia Tordesillas, Gabriela Bunag, Gabrioelle Jaynario, Fanchesca Maroon and Blanca Verdadero.

        All eyes were of course on Phillips as the Prince and Pimentel as the Sugar Plum Fairy in the much awaited grand pas.

        She came in very strong perhaps due to the technical demands of the part but later showed some fairy-like qualities towards the end. Her carefully executed turns didn’t dazzle but the sense of steadiness is commendable. But with the sheer demands of athleticism required in the finale, anyone who survived this grand pas is bound to emerge a heroine.

        And true enough, Pimentel got her share of deafening applause.

        As for Phillips, his performance combined great acting and intelligent dancing. He could very well make the entire ballet his own but his sense of ensemble is obviously greater than the urge to be star soloist. This made his role more encompassing than a mere showcase of bravura dancing.