Denise Parungao blossoms in Ballet Philippines' Romeo and Juliet

Denise Parungao and Joseph Gatti with Ballet Philippines

Denise Parungao showed a lot of promise when she was cast as Giselle in Ballet Philippines' production of the ballet back in 2013 and in 2014. Since then, she has made a quick ascent in the company attaining the status of Principal Dancer which she has reaffirmed with performances in several ballets most notably Swan Lake wherein she danced the dual role of Odille/Odette.

Back then for me, it felt like she was yet to show her full potential and be in her lyrical best. That time has come when I saw her at the opening night of Romeo and Juliet, in the role I think she was born to do, that of the tragic heroine Juliet.

The Cast and Creative team of Romeo and Juliet

In this revival staging choreographed by Alice Reyes, BP's Artistic Director and National Artist for Dance, Denise's Juliet embodied the full blossoming of the female from a frivolous young girl to a desperately love stricken woman that it made me forget how ludicrous the actual ages of the leads actually were in Shakespeare's original text.

At the start, Denise showed a childish Juliet, sprightly and giddy with her light quick steps and hops, and whose main concerns were just thinking of how to prank her nurse and what to wear at the party. But once she met and fell in love with Romeo, Denise switched gears and made use of her long limbs that oozed with fluidity and lyricism.

Joseph Gatti, Marlon Chen,
and Denise Parungao

Denise's Juliet was in full bloom through the solid partnering of her Romeo, American danseur Joseph Gatti. While he impressed with his pyrotechnic turns and leaps as the brash Basilio in last year's Don Quixote, Gatti's Romeo was more grounded, showing more acting chops and sensitivity enough to convince me why Juliet was unable to resist his charms.

Aside from the Balcony Pas de deux, another highlight of the ballet for me was towards the end when Romeo grieves over the "dead" Juliet in another Pas de deux with her appearing limp and lifeless, yet still en pointe and just being led and carried by Romeo. This tender moment could've easily turned into a creepy one had the two dancers weren't able to make the audience have an emotional investment in their doomed love affair.

Among the surprises in this staging is how corps heavy it is with the townsfolk in the marketplace challenged by complex choreography. Interesting also is that Rosalind, Romeo's original object of affection, is a dancing role here. She was just a name in the play and a musical theme in Sergei Prokofiev's score.

Speaking of music, the opening night had the Manila Symphony Orchestra providing live accompaniment. Although the amplified sound coming from the speakers while still hearing the orchestra from the pit threw off the balance for me, the orchestra did carry their weight in this production with guest conductor Marlon Chen weaving this Prokofiev music that could oftentimes be unwieldy.

As for the sets by National artist Salvador Bernal, they were grand, not too ornate and more simplistic, but still showcased the grandeur of the Cultural Center of the Philippines' Main Theater stage.

Marlon Chen and the Manila Symphony Orchestra

Ballet Philippines' Romeo and Juliet resumes this weekend with the final three performances on February 23, 2019,  2:00 & 7:00 PM, and February 24, 2019 2:00 PM at the Cultural Center of the Philippines (Tanghalang Nicanor Abelardo).