An awesome Alamat

The frequency of Ballet Manila’s concerts at Aliw Theater defies comprehension. The recent full-length program “Lisa at 25” was soon followed by the ballet “Don Quixote” in its entirety, with the full-length presentation of Alamat: Si Sibol at Si Gunaw ensuing last week. What defies comprehensions even more is that the frequency of the concerts in no way affected their quality, each being excellent in its distinctive fashion. This may be partially explained by the cast which, although exceptionally huge, is remarkably trained and disciplined; even its baby ballerinas and danseur incredibly dart in and out of the stage on cue!

“Alamat”, a choreographic gem created by Osias Barroso (artistic associate) and Gerardo Francisco, is based on a children’s story by Palanca Hall of Fame writer Ed Maranan.

Before the curtain opened, a film clip depicting a waterfall amidst lush foliage and greenery, with birds fluttering about already suggested Nature or the environment as the battleground over which Gunaw (Francis Castaño) and his twin sister Sibol (Yanti Marduli), children of the goddess Luningning (Lisa), would fight, Gunaw striving to destroy it; Sibol, to protect and preserve it.

Each scene was a riot of color created by the stunningly elegant costumes and magnificent, towering sets. (Not a single detail was overlooked: the volcano even spewed smoke and lava.) Dancers performed on every section of the enormous stage: a stairway on one side; the long flight of stairs directly leading to the stage (I always held my breath each time the dancers rushed down these stairs because a mis-step could ruin a scene); the farthest and highest reaches close to the rafters where Lisa as Luningning would later “fly” to her Sky World.

Against the spectacular decor, the wedding scene wherein the unwilling goddess Luningning marries the villainous mortal Kapuy, the poet-king (Nazer Salgado), and the battle scene wherein Gunaw’s forces of evil and the spirits allied to Sibol arrested attention. Tantalizing, precise movement was enriched by eloquent miming.

The legend spawns diverse characters and creatures — soldiers, wives of Kapuy (these appeared in one “orgiastic” scene), hand-maidens, diwatas (deities of the Sky World), butterflies, bees, even clouds!

The ballerinas, lithe and graceful, with smiling faces, complemented the vigorous, defiant, unsmiling danseurs. Lisa glided impeccably — she was lightness and nimbleness personified — her brilliant partners Salgado and Castaño lending her seemingly effortless support in the dazzling turns and daunting lifts which enhanced her flawless dancing in the challenging role of mother. Persuasively, she was alternately loving, stern, dismayed or distressed. Exasperated by her feuding children, she flies to her kingdom, leaving Sibol with seeds which quickly grow and cover the earth with foliage. (This, translated onstage, had dancers with huge flowers as stunning head-dresses.)

Incomparably sparkling as dancer-actress Lisa was the ballet’s dominant figure. Marduli and Castaño dramatically conveyed the essence of their roles through technical and emotive skill. Justin Pitahin and Jamil Montebon were the engaging young twins.

Classic, modern and folk styles were combined. For the wedding scene, dances were Muslim-inspired and highly stylized, with Lisa hopping in-between the poles on pointes. The music by Edru Abraham and Noel Zarate, as arranged by Mon Faustino, exuded the robust Muslim beat. The rest of the music was alternately gentle and lyrical — with a folk song thrown in — or invigorating and exuberant.

The spectacle gave full credence to Barroso’s observation: “The combination of creative minds and hearts is more than any choreographer can ask for. Add to the creative minds those of costume designer Willy Palada and of many others whose collective talent and originality were deftly woven by production designer Jonathan Janolo into a magical tapestry. A totally Philippine ballet, “Alamat” is compelling. Gripping. Words like “fabulous,” “fantastic,” “spectacular” — even “awesome” — come to mind in an attempt to describe its staging.