MANILA, Philippines - A recent tribute to Lucrecia R. Kasilag, well-loved National Artist for Music, by the Philippine Ballet Theater (PBT) turned out to be an exercise in selective artistry, where production was concerned.

The opener, ?Ang Sultan,? an early Gener Caringal choreography, was danced by two of PBT?s youngest soloists alternating in the female lead role (Nica Ylagan and Bianca Perez). Both rose to the challenge offered by this dramatic role. (We noted that the name of Perez, the opening night soloist, had been omitted in the souvenir program).

Marvin Arizo, as the Sultan (his name was also nowhere in the souvenir program), gave a strong and riveting interpretation to his role. The role of the secret lover (alternately danced by Jared Tan and Mark Pineda) was well-etched and contributed to a powerful performance. It was sophisticated piece, draped in elegance and well-lighted by Dennis Marasigan.

Vintage piece

?Tanan,? a vintage piece by yours truly, originally choreographed in 1968 for Dance Theater Philippines and danced by the inimitable Tina Santos and Julie Borromeo (alternating in the lead roles) came out as fresh as when it was first staged 40 years ago.

A comedy in three well-paced scenes, with nonstop music in between specially composed by Juan Silos, Jr., it proved to be the most refreshing number of both the evening and matinee performances, and was thoroughly enjoyed by the audience, young and old.

It demanded of the performers, both soloists and corps, easy and unpretentious acting and as well as dancing. Bianca Trocino (opening night) and Nica Ylagan (matinee) danced the role of the impish Maria with convincing comic flair.

Peter San Juan brought out the cheeky character of Kardo, Maria?s sweetheart. Alternating as Kardo was Jared Tan, PBT?s technical workhorse, who needs to learn to be versatile as an actor-dancer.
Marvin Arizo as the drunken Mang Tasio surprised us with his transformation from Ang Sultan. As an actor-dancer, he gets into the skin of his characters.

However, ?Tanan,? while undoubtedly successful musically and choreographically, seemed to have been neglected by both the artistic director, Caringal and the set designer, Eric Cruz, production-wise.

The piece had makeshift, unimaginative sets and props, some borrowed from here and there, some bought hurriedly two hours before the show from Harrison Plaza. Obviously, PBT honors its choreographers selectively and unfairly (reason given: ?no budget?).

?Misa Filipina,? by Basilio, choreographed to music by Ryan Cayabyab, is a symbolic and rather intellectual piece, recalling the assassination of Ninoy Aquino, the Man in White. The work is inspired by the Catholic Mass, and the Man in White is juxtaposed with the Christ figure.

Again, this piece could have used some imaginative lighting and symbolic sets or screen projection to delineate its intent with more clarity. It, too, was abandoned to itself .

Lavish

In contrast, ?Vinta,? one of our favorite PBT works by Caringal, was lavished with fantastic lighting, new drapery and new costumes (resplendent malong) that colored the choreography.

The lead dancer, Abigail Tan, had impeccable technique, as expected; she was elegant in her detachment in this abstract work inspired by the Muslim vintas of Mindanao. Marvin Arizo proved to be a secure and reliable partner.

The colorful ?Vinta? could have been a fitting finale to the performances?a real ?tour de force??instead of Tony Fabella?s ?Mantones de Manila.?

Hispanic and romantically nostalgic, with a perky Americanized ending, it was a piece we thoroughly enjoyed. Fabella has always showered us with his versatility and inventiveness. He is definitely one of our best and favorite choreographers. The sets were imaginative, very lavish but tasteful?transparent drapes with white appliqués simulating delicate lace.

Still, ?Mantones de Manila? was misplaced as a finale. ?Vinta? would have punctuated these September production with more dramatic impact.

Lastly, but as importantly, we salute the Ballet Master Anatoly Panasiukov for sprucing up the dancers? technique, given the fact that they come from different schools, with uneven training, but with a love for their art. Anatoly Panasiukov is the glue that holds together this eclectic company.