Ballet Philippines soars high with ‘Darna’
July 28, 2003 | 12:00am
After 50 years, the Philippines’ number one super heroine finally goes big time when Ballet Philippines brings Mars Ravelo’s Darna to the hallowed halls of the Main Theater of the Cultural Center of the Philippines.
Darna, BP’s 2003-2004 season opener, is an action-packed dance-musical the kind of which has yet to be seen on Philippine stage. Techno music, aerial choreography, hip DJs and groovy dancers, acrobatics and fight sequences come together in a special production that raises the comic book genre to high art.
BP’s production of Darna was envisioned with the latest high-tech effects in the movies in mind. Movies, such as The Matrix and Crouching Tiger, Hidden Dragon, have influenced the dance company’s management to conceptualize this project. Thus, the images of dancers flying up in the air and walking up and down walls will dazzle balletomanes in this unique production.
Director Chris Millado says BP’s new ballet is designed to show the local audience the latest in sports technology. A troupe of mountaineers are being tapped to supervise the rigging that will literally make the dancers fly.
"The whole production was designed in a making-of-the-movie mode," says Millado. "The audience sees how the characters are made to fly. The riggers are also part of the cast, since they will be interacting with the characters on stage."
Eight characters fly in this production. For each character, there are two riggers – one as rigger and the other as counterweight – controlling their movement on air. The perfect communication between dancer and his partner rigger and counterweight is needed for an optimum performance.
"The performance is not just of the dancers but also of the athletes, as well," says BP artistic director Denisa Reyes, who choreographs the ballet sequences with associate Alden Lugnasin.
While they may have perfected the art of flying for this production, ballerinas Christine Crame and Kris-Belle Paclibar, who alternate in the role of Darna, say it is more than just hard work.
"What is hardest about this role is characterization," says Crame. "I have no idea what being a superhero is all about. Maybe, as a child I could play-act being a superhero, but now that I’m older, I’m having a hard doing that."
"Christine knows what she’s talking about because she’s done so many dance roles," says Paclibar. "She’s been a princess, she’s played a battered wife and all that. But, what’s it really like to be a superhero? How does she behave? How does she walk?"
The dancing required of them is already peanuts, considering that the company members of Ballet Philippines are well-versed in the latest in contemporary ballet.
The sheer demand of the role necessitates having two dancers play the role of Darna.
"The physical demand of this role is so much you can’t do it twice in a day," says Crame.
"And we have to keep ourselves fit for the role," Paclibar adds. "We have to watch our weight. Not only is it hard to fly, but we realize how hard it is for our riggers to get us moving around the stage."
And it’s no mean feat to be flying in this production. The set is rigged with a steel structure that goes up 25 feet at the CCP Main Theater. Rehearsals at the Folk Art Theater bring the dancers up to just half that height.
"There are so many factors we have to consider when doing this role. Of course, we still worry when we go up in the air," Paclibar admits. "We do have to know how the system works. If we don’t practice how we fly, we might get caught in the rigging when we do our twists in the air."
In this production of Darna, the kontravida role of Valentina is essayed by actress Chin-Chin Gutierrez and Tex Ordoñez. She is assisted by her boy toys in adding gloom and doom in this comic-book world.
Ballet Philippines’ Darna is directed by Chris Millado and choreographed by Denisa Reyes and Alden Lugnasin, with music by Jesse Lucas. Set design is by Boni Juan, costume design by Liz Batoctoy, lights design by Naomi Matsumoto, technical direction by Gerry Fernandez, sound design by Rubber, Inc., and graphic design by Mango Comics. Alexis Fernando and Thumbie Remigio are the rigging coordinators, while videography is by Blue Dog Productions, with Mark Gary, Nonoy Froilan, Olivier Rochot and Philipp Espina.
Ballet Philippines’ Darna will have performance from Aug. 1 to 17 at the Main Theater of the Cultural Center of the Philippines. For tickets, call 832-6011.
Darna, BP’s 2003-2004 season opener, is an action-packed dance-musical the kind of which has yet to be seen on Philippine stage. Techno music, aerial choreography, hip DJs and groovy dancers, acrobatics and fight sequences come together in a special production that raises the comic book genre to high art.
BP’s production of Darna was envisioned with the latest high-tech effects in the movies in mind. Movies, such as The Matrix and Crouching Tiger, Hidden Dragon, have influenced the dance company’s management to conceptualize this project. Thus, the images of dancers flying up in the air and walking up and down walls will dazzle balletomanes in this unique production.
Director Chris Millado says BP’s new ballet is designed to show the local audience the latest in sports technology. A troupe of mountaineers are being tapped to supervise the rigging that will literally make the dancers fly.
"The whole production was designed in a making-of-the-movie mode," says Millado. "The audience sees how the characters are made to fly. The riggers are also part of the cast, since they will be interacting with the characters on stage."
Eight characters fly in this production. For each character, there are two riggers – one as rigger and the other as counterweight – controlling their movement on air. The perfect communication between dancer and his partner rigger and counterweight is needed for an optimum performance.
"The performance is not just of the dancers but also of the athletes, as well," says BP artistic director Denisa Reyes, who choreographs the ballet sequences with associate Alden Lugnasin.
While they may have perfected the art of flying for this production, ballerinas Christine Crame and Kris-Belle Paclibar, who alternate in the role of Darna, say it is more than just hard work.
"What is hardest about this role is characterization," says Crame. "I have no idea what being a superhero is all about. Maybe, as a child I could play-act being a superhero, but now that I’m older, I’m having a hard doing that."
"Christine knows what she’s talking about because she’s done so many dance roles," says Paclibar. "She’s been a princess, she’s played a battered wife and all that. But, what’s it really like to be a superhero? How does she behave? How does she walk?"
The dancing required of them is already peanuts, considering that the company members of Ballet Philippines are well-versed in the latest in contemporary ballet.
The sheer demand of the role necessitates having two dancers play the role of Darna.
"The physical demand of this role is so much you can’t do it twice in a day," says Crame.
"And we have to keep ourselves fit for the role," Paclibar adds. "We have to watch our weight. Not only is it hard to fly, but we realize how hard it is for our riggers to get us moving around the stage."
And it’s no mean feat to be flying in this production. The set is rigged with a steel structure that goes up 25 feet at the CCP Main Theater. Rehearsals at the Folk Art Theater bring the dancers up to just half that height.
"There are so many factors we have to consider when doing this role. Of course, we still worry when we go up in the air," Paclibar admits. "We do have to know how the system works. If we don’t practice how we fly, we might get caught in the rigging when we do our twists in the air."
In this production of Darna, the kontravida role of Valentina is essayed by actress Chin-Chin Gutierrez and Tex Ordoñez. She is assisted by her boy toys in adding gloom and doom in this comic-book world.
Ballet Philippines’ Darna is directed by Chris Millado and choreographed by Denisa Reyes and Alden Lugnasin, with music by Jesse Lucas. Set design is by Boni Juan, costume design by Liz Batoctoy, lights design by Naomi Matsumoto, technical direction by Gerry Fernandez, sound design by Rubber, Inc., and graphic design by Mango Comics. Alexis Fernando and Thumbie Remigio are the rigging coordinators, while videography is by Blue Dog Productions, with Mark Gary, Nonoy Froilan, Olivier Rochot and Philipp Espina.
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