By Brontë H. Lacsamana, Reporter
Ballet ReviewFlorante at LauraBallet Manila
MASTERS of dance, music, literature, and stage production are coming together to stage the first-ever ballet adaptation of the 1838 Filipino literary classic Florante at Laura by Francisco “Balagtas” Baltazar.
Helmed by Ballet Manila’s co-artistic associate and Ibong Adarna choreographer Gerardo Francisco, in collaboration with British choreographer Martin Lawrance, the show was already conceptualized before the pandemic. Its world premiere, which finally hit the Aliw Theater stage on Oct. 12, was a joyous celebration of the meeting of creative minds.
Aside from the two dance auteurs, renowned writer and balagtasan expert Professor Michael Coroza came on board to create a libretto, while Pinoy music pioneer and National Artist for Music Ryan Cayabyab took on the challenge of creating the music. His original compositions will be performed live by the Orchestra of the Filipino Youth (OFY) under the baton of his son, Toma Cayabyab.
“Something magical happens when artists come together,” said Lisa Macuja-Elizalde, Ballet Manila’s creative director, before the show on Oct. 12. The production’s premiere coincided with her birthday celebration.
She shared how ecstatic she was when all the artistic virtuosos she invited said yes to the project. Mr. Cayabyab, in particular, last worked with Ballet Manila in 2004 for Mga Kwento ni Lola Basyang, making his comeback composing music with the company all the more memorable.
Ms. Macuja-Elizalde likened him to “a Filipino Tchaikovsky — sweeping, dramatic, powerful, and romantic.”
For Mr. Cayabyab, the project was a daunting one. “It had been quite some time since I wrote a large musical work,” he told the press before the show. “I challenged myself into accepting this, and I hope that it becomes an important legacy for all of us involved in it.”
SHORT REVIEWBusinessWorld caught the Oct. 13 show, which was attended by a variety of families, friends, ballet and music enthusiasts, and audiences both young and old. Coming from the success of Ballet Manila’s Ibong Adarna adaptation, expectations were high for another renowned Filipino literary adventure.
From the grand overture that OFY played before the curtains lifted, right up to the ending when the audience erupted in applause, the production lived up to the hype. The live music elevated the action-packed narrative, which featured the most important beats found in the old novel. The few children that were in the audience curiously peeked into the orchestra pit before and after the show, entranced by where the music was coming from.
Florante at Laura is a large-scale story, following the duke Florante who is held captive and enslaved by the Turks and how he escapes, with the help of Aladin, to return to his country, Albania. His faceoff with the usurper, Count Adolfo, and reunion with his beloved Laura drive home powerful themes of love and friendship.
Principal dancers Joshua Enciso and Abigail Oliveiro portray the titular Florante and Laura with much emotion and grace, their experience as lead dancers shining in their drama-filled roles. The choreography is striking, the audience able to feel every moment of action, romance, or quiet. The large dance pieces, in particular, manage to consolidate the strong energy of the Ballet Manila’s ensemble of dancers.
The stage was transformed into a unique representation of the Kingdom of Albania thanks to set designer Mio Infante. The geometric set pieces, ranging from castle interiors to dense forests, moved smoothly and evoked both physical spaces as well as the internal conflicts of the characters amid war.
Costumes by Make It Happen, led by Otto Hernandez and Therese Arroyo Hernandez, added to the grand visual aesthetics. Color-coded clothes defined the characters, the Albanian kingdom in blue, the Turks in red, and the usurper’s faction in green. Lighting director John Batalla also did a wonderful job using colors to differentiate moods in the play.
Overall, those who are vaguely familiar with Florante at Laura as a high school requirement will have a newfound appreciation for it. It is fast paced yet elaborate in its beautiful details and emotional beats, making it fairly easy to follow. Mr. Cayabyab’s music stays with the audience, the recurring musical motifs in the show remaining in one’s head even after having left the theater.
A true product of collaboration, it goes to show how putting great creative minds together — be it from music, dance, literature, or stage production — can bring classic material to new audiences.
The final performance on Oct. 19 will be staged at the Aliw Theater, CCP Complex, Pasay City. For tickets, visit ticketworld.com.ph.
