This Month in BM History: November 2012
Al Principe (Nazer Salgado) holds an audition for his potential leading lady, and is instantly smitten with Sinderela (Jennifer Rose Olayvar). Photo by Ocs Alvarez from the Ballet Manila Archives collection
A beggar transforms into a fairy godmother (Hana Oh), ready to fulfill the fondest wish of Sinderela (Jan Erika Basilio). Photo by Ocs Alvarez from the Ballet Manila Archives collection
A popular fairy tale transformed into a 21st century reality show – that is Ballet Manila’s Sinderela which had its world premiere in 2012.
Taking inspiration from the classic story by Charles Perrault and the Grimm brothers, choreographer Hazel Sabas-Gower infused it with a modern Pinoy twist that, befitting a ballet production, also focused quite appropriately on dance in its plot.
In Sinderela, the prince becomes matinee idol Alcantaro “Al” Principe who holds a search for his leading lady through a grand dance audition. With the help of the beggar-turned-fairy-godmother Tita Nia, Sinderela gets to show off her dancing skills which are far more refined than those of her wicked stepsisters. But at the stroke of midnight, Sinderela hurriedly departs, leaving behind her slipper and an awestruck Al to figure out who its rightful owner is.
Senior soloist Jennifer Rose Olayvar stepped into Sinderela’s shoes for the Ballet Manila production. Souvenir program from the Ballet Manila Archives collection
A wacky trio provides comic relief for the fairytale adaptation: (from left) Gerardo Francisco Jr. as Avaricia, the lazy stepsister; Michael Divinagracia as Media, the controlling stepsister; and Jonathan Janolo as Travesia, the stepmom. Photo by Ocs Alvarez from the Ballet Manila Archives collection
Three pairs of dancers alternated in the lead roles – Jennifer Rose Olayvar, Sofia Sangco-Peralta and Jan Erika Basilio as Sinderela and Nazer Salgado, Romeo Peralta and Alfren Salgado as Al Principe. Comic relief was provided by the stepmom Travesia and stepsisters Avaricia and Media who were all played by men – Jonathan Janolo as the mother and Gerardo Francisco and Michael Divinagracia as the siblings.
Instead of a pumpkin being turned into a carriage and animals transformed into horses, a coachman and footmen, Sinderela had an array of mystical beings led by Aria, Sirenia, Flamia and Tiera summoned by Tita Nia. The fairy godmother also has an entourage of nature spirits and time spirits, the latter to tell Sinderela when it is time to go home.
Joan Emery Sia (Sirenia) and Tiffany Chiang (Aria) are part of Tita Nia’s mystical entourage. Photo by Ocs Alvarez from the Ballet Manila Archives collection
Critic Pablo Tariman described Sinderela as a show-stopper. “Scene by scene, the ballet is as timely as last night’s talent search, the highly innovative choreography has the immense challenge of Swan Lake and Giselle and the dancing and acting of the stepsisters had audiences rolling on the floor with laughter. The popular showbiz inputs notwithstanding, this localized version of Cinderella managed to live up to the powerful Prokofiev score with aplomb!”
Along with Sinderela, Ballet Manila also presented Sonata, its tribute to the 150th birth anniversary of Sir Edward William Elgar. Set to Elgar’s Sonata in E minor, opus 82 for Violin and Piano Sonata, it was choreographed by Ballet Manila artistic associate and rehearsal master Osias Barroso and featured guest violinist Robert Atchison and pianist Olga Dudnik in select performances.
Details about Ballet Manila’s Cinderella adaptation are shared in a newspaper announcement. Clipping from the Ballet Manila Archives collection
