Dance review: A Pinoy Christmas in Ballet Manila’s ‘Nutkraker: Pasko na Naman Muli!’

It is typical for a Ballet Manila production for classical ballet to be paired with Filipino-themed dances, and “Nutkraker: Pasko Na Naman Muli!” is precisely pegged around this tried and tested formula.

True to her title as “ballerina ng bayan,” artistic director Lisa Macuja-Elizalde continues to cater to an audience inclusive of the aesthetics of everyday people.

The first act of the ballet is composed of excerpts from the well-known Christmas ballet, "The Nutcracker." The Rose Waltz was performed by the corps de ballet with breathtaking grace and precision, while the Grand Adagio of the Sugar Plum Fairy, the Prince and Cavaliers also had its characteristic magic.

Principal dancer Dawna Reign Mangahas as the pink-clad and queenly Sugar Plum Fairy stood out for her regal bearing and charm, while her prince and cavaliers were portrayed with strength and vigor by danseurs Rudy de Dios and Elpidio Magat, among others.

Not surprisingly, in the program notes, it was mentioned that Mangahas has been named as one of the names to watch out for in Dance Europe Magazine’s October 2014 issue.

Meantime, the colorful dances of the dolls brought variety and entertainment to the narrative. Senior soloist Francis Cascano was particularly dignified and astute in the Spanish dance, reminiscent of his portrayal as the Spanish matador in "Don Quixote," part of Macuja-Elizalde’s three-year Swan Song series at the FEU Theater in 2013. Cascano’s partner in the Spanish dance, Violet Hong, could have used more bravura and fierceness, but the pair still delivered and finished with a passionate elegance characteristic of Spanish dancing.

The second act is composed of dances performed to the tune of OPM Christmas hits. “Lata Ang Aming Tambol/Mano Po Ninong” featured the young scholars of the company’s Project Ballet Futures project, which aims to develop and sponsor the dance education of select public school students in Manila.

“Hele” was a beautiful double pas de deux set to the soulful singing of Gary Valenciano’s Awit award-winning song “Hele ni Inay.” It was choreographed by Michael Divinagrancia, highlighting the story of two couples in search of a mother's love.

“Labindalawang Araw ng Pasko” was rendered by a fun and rowdy all-male cast, choreographed by Gerardo Francisco to the music of APO Hiking Society’s similarly-titled song. It was an obvious counterpart to the popular English Christmas song “Twelve Days of Christmas,” but with more culturally-appropriate gifts.

“Kumukutikutitap” was likewise appealing for its use of dancing lights, set to the delightful acapella of Ryan Cayabyab’s well-known holiday ditty. Choreographer Francis Jaena utilized black-costumed dancers holding up neon-lit parols and other lit-up Christmas symbols, creating the illusion of the objects dancing and prancing in the air by themselves.

Another highlight was “Heto Na Naman,” set to the Cayabyab song and danced by no less than Macuja-Elizalde herself, partnered by Brian Williamson, her purple tutu a contrast to his red outfit. Macuja-Elizalde beamed with joy and warmth in the dance, qualities that have made her presence very accessible to her audience these past three decades of her dancing career.

The “X-mas Disco Medley” was the finale, showcasing all the dancers in a mix of street dance and ballet moves, leading to “Pasko Na Naman,” the grand finale featuring the entire cast that led to the curtain call. Glittery paper were showered on stage and the ballerinas wore Santa hats. On top of their tutus, they wore vests lit up by Christmas lights. These outfits and accessories, which one may buy from Divisoria, are signifiers of the Pinoy Christmas of the masses. And perhaps it is by employing such aesthetics, no matter how seemingly kitschy, that Ballet Manila has continued to reach out to the public's sensibilities.

Ballet Manila's technically precise and strong ensemble of dancers attest too that artistry and accessibility need not be mutually exclusive. Macuja-Elizalde’s continued committment to ensuring that this classical dance form goes beyond its elitist beginnings indeed continues to shine through in the company's productions. Not incidentally, Ballet Manila won a whopping four Aliw Awards this year, including Best Dance Company and Best Classical Dancer (for Macuja-Elizalde).

Despite her publicly celebrated retirement from full-time dancing this year, Macuja-Elizalde is still on top of her toes as she continues to set her legacy in place through her professional dance company, which is already set to celebrate its 20th year come 2015. — BM, GMA News

Ballet Manila's "Nutkraker: Pasko Na Naman Muli" was performed on November 29 and 30 and December 5, 6 and 7 at Aliw Theater, CCP Complex, Pasay City.