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).

Donuts and coffee with Joseph Gatti

Joseph Gatti

I confess that it was Adiarys Almeida who first came to mind when I first learned even before Ballet Philippines’ 48^th season started that Joseph Gatti will be the guest dancer for the company’s season ender Don Quixote. I’ve spent countless minutes, hours probably, watching online videos of Adiarys and Joseph’s dancing together and I had to contain myself knowing that half of the duo would be here soon.

Several months later and after BP’s productions of A Gala Celebration, The Exemplars: Amada and Other Dances, and The Nutcracker, that soon finally came and I was very fortunate to be invited for an intimate chat with Joseph over some donuts and coffee at Dance Studio of the Cultural Center of the Philippines while all the Pasinaya craziness was ongoing all around the building.

There is something satisfying in having a glimpse of the artists, knowing more about their thought process and getting some insight about how they work. And even though they may not be necessary, having all these just makes me appreciate their performance on stage a lot more.

Alice Reyes, Joseph Gatti, and Adam Sage

One thing I learned about Joseph that he owes a lot to Adam Sage, currently the Associate Artistic Director and Ballet Master of Ballet Philippines and also the regisseur of this production of Don Quixote. Years ago, Adam gave Joseph some pointers and the latter, in gratitude, told the former that he would never forget that moment for the rest of his life. And it is because of Adam that made Joseph dancing here a possibility.

BP’s Artistic Director and National Artist for Dance Alice Reyes pointed out that while Joseph can do the impressive turns, leaps, and other tricks, he is not just about the tricks. She pointed out to the company to watch Joseph’s feet while not doing the tricks. Characterization and the steps that come in between the tricks, although not that flashy, are equally important as well.

Rhea Bautista, Joseph Gatti, Alice Reyes, and Adam Sage

It was funny when Rhea Bautista, BP's Publicity Head, told the story on how it was the guys who got all giddy when Joseph arrived. Interesting also to note that it’s the camaraderie in the company that made it easier for him to work with BP. As a freelance artist, he comes to a company cold and I can only imagine the challenges different personalities and cultures can pose for a guest artist.

Probably the best takeaway that I got from this brief conversation with him is that being a freelance dancer, it takes a lot of discipline for him to stay in shape and on top form since he has no company that sets the schedule and the routine. And it’s this work ethic, discipline, and dedication to the craft that that is worth emulating even if I’m not a dancer.

All this just made me feel more excited to see Joseph perform and also the rest of Ballet Philippines who do seem to get all pumped up by his presence. For now, it’s back to watching videos of him and Adiarys.

Joseph Gatti performs with Candice Adea at the Gala Nights on February 9 & 10, 2018. Other performances featuring Victor Maguad and Jemima Reyes, and Ian Ocampo and Monica Gana will be on February 10-11, 17-18, 2018.

American danseur Joseph Gatti leaps into Ballet Philippines' Don Quixote

Ballet Philippines’ brings its 48^th Season: Quintessence to a close with Don Quixote, one of the most popular and flamboyant ballets of all time, this February 9-18, 2018 at the Cultural Center of the Philippines’ Tanghalang Nicanor Abelardo (CCP Main Theater).

Restaged by Adam Sage, BP’s Associate Artistic Director and Ballet Master, Don Quixote the ballet is based on episodes from the quintessential novel Don Quixote de la Mancha by Miguel de Cervantes with the focus mainly on the two lovers Basilio and Kitri with the title character relegated to an acting and a non-dancing role.

Joseph Gatti

Multi-awarded American danseur Joseph Gatti will be the guest artist in this production, dancing the role of Basilio for only two performances. These special gala nights happening on February 9, 8:00 PM and February 10, 7:00 PM will also feature the music of Ludwig Minkus performed live by the Manila Symphony Orchestra under the baton of Jeffrey Solares.

Joseph Gatti is a former principal dancer with Cincinnati Ballet and Corella Ballet. He is a prize winner at the New York International Ballet Competition and World Ballet Competition. Gatti’s Basilio will be partnered by resident guest artist Candice Adea, marking her return to the role of Kitri which she danced in Ballet Philippines’ last staging of Don Quixote back in 2011.

Ian Ocampo as Basilio and Monica Gana as Kitri

In other performances, the principal roles of Basilio and Kitri will be performed by Ian Ocampo, in his first production with Ballet Philippines, partnered with Monica Gana, making her debut in a classical ballet lead role, and by Victor Maguad and Jemima Reyes, adding Don Q to their previous pairing in Swan Lake and The Nutcracker.

Ronelson Yadao as Espada and Denise Parungao as Mercedes

Performing featured roles in this production are guest dancers Jojo Mamangun as the errant knight Don Quixote and Ronelson Yadao as the dashing toreador Espada. BP’s Denise Parungao and Katrene San Miguel alternate the role of the sultry Mercedes.

An added treat during the evening performances await the audience who want to get in the Spanish fiesta mood before the show. For an additional P500 to their tickets, guests can enjoy Spanish wine, tapas, and cocktails before the performance at the Ballet, Pintxos y Vino bar opening an hour and a half before the evening performances on Feb. 9-10 & 17-18. This offer is only available through advance reservation and slots are limited so better make that call to Ballet Philippines at 551-1003 at the earliest possible moment.

The cast of Ballet Philippines' Don Quixote

Since Don Quixote is a popular ballet, this has been staged numerous times by all the ballet companies in here. And every time I've seen a production of it (or even just the Grand Pas de Deux) I've always tried to jump start on the novel but I aways ended up not finishing it. I hope that upon seeing Ballet Philippines' upcoming production and getting mesmerized by Kitri’s leaps and fouettés and Basilio’s jumps and turns, getting to read the entire novel will be an impossible dream no more.