MANILA, Philippines - Taking the lead role in any classical ballet always means having enormous (pointe) shoes to fill, but with Swan Lake, the stakes are even higher. Swan Lake epitomizes classical ballet, and it is said that if one succeeds at Odette/Odile, one could succeed at any role.
“This is the ultimate ballerina challenge,” declares Denise.
“Swan Lake is on a completely different level compared to any of the other classical ballets.” Jemima explains. “It demands so much of everything – clean, precise technique, artistry to be able to embody the character, maturity to balance the storytelling with the dancing, and above all, stamina. Remember, the ballet has four acts, and we have to do 32 fouettes in the third act!”
Denise has steadily risen to her spot in center stage since 2012, her first year as a company member. Within two years, she was promoted to soloist, and then to junior principal dancer a year later. In 2014, she was awarded the Gawad Buhay for Female Lead Performance in Classical Dance for her portrayal of the titular role in Cinderella. That same year, she won first prize at the 1st CCP Ballet Competition.
Jemima joined Ballet Philippines as an apprentice at 16 and was promoted to junior company member a year after. She has consistently shone in her numerous featured roles in past years, notably Gintong Usa in Rama Hari and, most recently, the title role in Firebird.
“Jemima and I are distinctly different dancers,” observes Denise. “Her pulse as a performer is fast, while mine is much slower.” So it doesn’t come as much of a surprise that Odette comes more naturally to Denise, while it is easier for Jemima to dance Odile.
“It’s more natural for me to act powerful and seductive, rather than somber and sorrowful, especially when I have to execute technically difficult steps as well,” says Jemima.
Denise, on the other hand, is the opposite. “I’ve done a lot of tragic roles such as Giselle and Maria Clara, so I’ve gotten used to drawing out that side of me,” she says. “I’d been dancing Odette since my days as a student, but it was my first time ever to put on a black tutu and perform as Odile during our press launch for Swan Lake. But I do think that everyone has a black swan side. As an artist, you have to open yourself up to different experiences.”
Nowadays, theaters and ballet companies all over the world are just a few keyboard clicks away. We can look up and watch performances by the Royal Ballet, the Kirov Ballet or the American Ballet Theatre – all on an iPhone in between rehearsals. This makes it much easier to be exposed to and learn from other great ballerinas and danseurs.
“I’m working on emulating how Natalia Makarova moves her arms,” shares Jemima. “But I’m also paying close attention to how Gillian Murphy tells the story through her movements, particularly as Odette.”
As for the black swan, “Both of us are awed by Yoko Morishita’s and Marianela Nuñez’s interpretations, but we have to craft our own versions, especially because what works for them may not work with our bodies,” says Denise.
Aside from the technique and artistry that the role demands, it also carries the weight of responsibility. “There’s a lot of pressure on us, because we know that we’re leading the rest of the cast,” explains Jemima. “But at the same time, the support that the entire cast gives inspires me a lot.”
Denise adds, “We’re also very fortunate that the people restaging the ballet – Nonoy Froilan, Edna Vida Froilan, Rhea Bautista, and so on – are all very passionate about the piece. Seeing that every day motivates us even more to perform our best every time.”
Swan Lake runs at the CCP Main Theater on Feb. 24-26 and March 3-5. The Philippine Philharmonic Orchestra under the baton of Maestro Yoshikazu Fukumura will perform during the gala nights on Feb. 24, 25 and March 3. The ballet also features guest artists Candice Adea and Joseph Phillips, and BP dancers Victor Maguad and Garry Corpuz as Siegfried.