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).

Ballet Philippines ups the romance this Valentine's season with Romeo and Juliet; danseur Joseph Gatti returns as Romeo

Love is definitely in the air as Ballet Philippines' presents their most romantic offering for their 49^th season, Romeo and Juliet,  happening this February 15-24, 2019 at the Cultural Center of the Philippines (Tanghalang Nicanor Abelardo). 

Joseph Gatti

After making a splash as Basilio in last year's Don Quixote, internationally renowned American danseur Joseph Gatti makes a returns and switches gears from brash to tragic as he dances the role of the love stricken Romeo. Dancing opposite him as the blossoming Juliet is BP Principal Dancer Denise Parungao.

The other set of pairs dancing the star-crossed lovers in this production are Jemima Reyes and Victor Maguad who have grown to be a formidable duo, and Monica Gana and Ronelson Yadao who are pairing up for the first time.

Denise Parungao
Photo by Jojo Mamangun

On opening night, February 15, 2019 and on the evening performance of February 16, 2019, the music of Sergei Prokofiev will be heard live through the Manila Symphony Orchestra under the baton of guest conductor Marlon Chen.

This staging of Romeo and Juliet, choreographed by Alice Reyes, National Artist for Dance and also currently Ballet Philippines' Artistic Director, was last mounted in 1988 which means that a huge chunk, if not all, of BP's current dancers were not yet alive to have seen this before.

Jemima Reyes and Victor Maguad
Photo by Jojo Mamangun

It has been said that this Romeo and Juliet boasts of the most opulent sets, designed by National Artist Salvador Bernal, that were ever seen at the CCP stage. Three decades later, these grand sets, revitalized with the help of Andy Locsin, son of National Artist for Architecture Leandro Locsin, will grace the CCP stage once again.

Aside from the ballet, the music, and everything else that will be seen and heard on stage, there also will be various pre and post show attractions. A floral photo wall, rose bubbly drinks by Fifi L’Amour, roses courtesy of Island Rose are just some of the treats that await audience members even before the show starts. Chocolates from Theo and Philo will leave a sweet impression as tokens for the audience when they leave the theater.

Ronelson Yadao and Monica Gana
Photo by Jojo Mamangun

Also available during the ballet's run is Juliet's Potion, a new scent which is described as possessing top notes of bergamot and neroli, opening up to heart notes of rose de mai and orris, before rounding out with base notes of white musk, moss, mate and patchouli.

Romeo and Juliet may not be lucky in love but several audience members may be very lucky as Ballet Philippines will raffle off prizes such as an overnight stay for two at Discovery Primea with complimentary lunch/dinner at the Tapenade Restaurant, a staycation for two at the Bellevue Hotel with a complimentary breakfast and dinner at the Café d’Asie. Other prizes up for grabs include a dining experience at the Gallery Chele, jewelry from Tim Tam Ong, and flower bouquets from Island Rose.

RAd's Playlist | Sergei Prokofiev Romeo and Juliet

As Valentine's Day fast approaches, it is time to feel the love and put on Sergei Prokofiev's Romeo and Juliet, Op. 64 for a spin. And since Ballet Philippines is staging the work next week, a recording of just the suites is not enough. So I present a fairly recent release of the complete ballet recording by the Baltimore Symphony Orchestra conducted by Marin Alsop.

This ballet has always fascinated me since it is drastically different, stylistically and musically, from the ones that I am most familiar with like Giselle, Don Quixote, and The Nutcracker just to name a few. There is no typical Pas de deux in here with all the jumps and turns that the audience have come to expect. There are also no filler divertissements that showcase the dancers techniques but have nothing to do with the overall plot.

In Romeo and Juliet, every dance and movement advance the story and I could only imagine how people back then reacted to this concept of a narrative full-length ballet. Despite the different choreography in the previous productions and excerpts that I've seen, what is common is that there is an earthy, more grounded feel and a palpable sensuality to the dance and the music as well.

Further digging on the historical context of this music has left me astounded. Multiple hurdles greeted Sergei Prokofiev even before this ballet made its debut. Bear in mind that all this was happening in the Soviet Union under Josef Stalin when purges were common. The Bolshoi Theater's director getting arrested and then executed was just one of the problems that plagued this ballet.

Knowing all this gives me a deeper appreciation of the music that actually grows on me every time I listen to it. And it also hypes me up for the upcoming ballet production even though I know that I won't be seeing the usual fouettés in it.