Mark Sumaylo embraces each role as if it was his last
Principal dancer Mark Sumaylo values every opportunity to dance and welcomes any role given to him. Photo by Giselle P. Kasilag
By Susan A. De Guzman
After six years, principal dancer Mark Sumaylo is back in the role he originated in Gerardo Francisco Jr.’s Ibong Adarna – as Don Pedro, the oldest brother among three princes who is the first to take on the daunting search for the bird with the healing voice.
As the scheming Don Pedro in Ibong Adarna, Mark Sumaylo hopes that he will rile up the audience because that would mean he is effective in his portrayal. Photo by Giselle P. Kasilag
While the return to being the prince is a welcome one, Mark appreciates that he has been able to take on a variety of parts in the full-length ballet. Indeed, he can rightfully claim to be the most versatile and well-rounded dancer when it comes to Ballet Manila’s Ibong Adarna universe.
In the premiere run in 2017, Mark was with the male corps whenever it was alternate Elpidio Magat’s turn to be Don Pedro. As corps member, he danced as a palace attendant and a hunter in the forest. In 2018, when the show was brought to Israel, he did double duty as the hermit and the shaman of the pared-down touring cast.
“I’m waiting for the opportunity to be Amazona,” Mark jests, referring to the women warriors in the story as among the roles he has yet to dance. But turning serious, he underscores that any assignment he actually considers an important one. “I’m excited because I get to do it one more time. Pero kahit naman ano ang ibigay (but whatever role is given), I treat as my last so I give it my everything.”
In a 2019 staging of Ibong Adarna, Mark plays the shaman who declares that the king will only get well with the curative powers of the Adarna’s voice. Photo by Giselle P. Kasilag
Mark is well aware that a danseur’s career can be brief, so he values every chance to dance. What makes a performance fresh every time even when one is doing the same role is the approach and energy one gives to it, he points out. “This time, ‘yung maturity iba na eh.” (This time, the maturity is different.)
Choreographer Gerardo “Geri” Francisco concurs with this, observing how Mark and fellow principal artists Abigail Oliveiro (as Adarna) and Romeo Peralta Jr. (as Don Diego) have grown so much as dancers in the years of added experience and know-how since Ibong Adarna debuted.
Mark says they are fortunate since Geri gives them artistic freedom. “He tells you what he wants, but you are also allowed to explore the role more. He encourages you on what to do and what to do more of, so it’s never the same.”
But he jokingly adds that they have to watch out when Geri rubs his chin while watching them rehearsing, more so when the choreographer stands up and stares at them intently. It can only mean that he wants to extract just a bit more from the dancers – a nuance or a movement that is not quite there yet. “Very particular kasi siya. Meticulous sa details,” Mark says of Geri. (Because he is very particular. He is meticulous with details.)
Another role Mark has played in Ibong Adarna is the hermit who helps Don Juan (Anselmo Dictado) in his quest after the latter gives him food and water. Photo by Giselle P. Kasilag
It was in 2017 when Mark saw this up close and experienced it first hand as Geri was putting together the Ibong Adarna choreography. Mark said then in an interview, “Grabe din ang takbo ng utak niya. Laging nag-iisip, laging nag-dro-drawing. Sinusulat niya ‘yung counts and formation. Wala siyang tigil. Ang maganda rin, nagagawa niya pa rin ang movements, so alam mo kung ano ang gusto niya.” (His mind works differently He’s always thinking, always drawing. He writes down the counts and formation. Non-stop. What’s also good is that he can still do the movements, so you know exactly what he wants you to do).”
Apart from Adarna rehearsals, Mark has had to contend with a hectic schedule of late. With the performing arts scene coming alive again, Ballet Manila has become busier not just with its season offerings and weekly shows at Star City, but also with performances outside of Metro Manila. Mark and wife Abigail Oliveiro, along with a group of BM dancers, recently guested in Ballet Baguio’s 20th anniversary presentation, Legendary. And just a week before Ibong Adarna opens, the couple is heading to Jakarta to represent Ballet Manila at the 3rd Indonesian Ballet Gala where they will perform the Black Swan pas de deux from Swan Lake and Augustus “Bam” Damian’s MAZN.
Mark and wife Abigail Oliveiro rehearse the Black Swan pas de deux from Swan Lake, a number they’re performing at the 3rd Indonesian Ballet Gala in Jakarta on August 13. Photo by Susan A. De Guzman
Even if he’s up to his neck in activities, though, Mark would still prefer this packed calendar over the two years of lockdown when theaters were closed and there was a drought of performances. For him, a huge appeal of ballet is the diversity it offers, far removed from the routinary nature of other jobs. “Sa sayaw kasi, paiba-iba. ‘Yung pieces, iba-iba. ‘Yung jumps, iba-iba. Ni-re-rehearse mo siya araw-araw, pero iba-iba rin. May araw na ‘on’ at may araw na ‘off.’ Hinahanap ng katawan ko ‘yung mga araw na ‘on’. (In dance, it’s always different. The pieces are different. The jumps are different. You rehearse every day but it’s also different. You have ‘on’ days and off. My body looks for ‘on’ days).”
While he’s looking forward to the Indonesian stint, Mark will be just as glad when they return in time for theater rehearsals for Ibong Adarna. One of the highlights he is specially getting ready for is the fight scene of the three brothers. Here, as the music pulsates, they engage in an all-out brawl that is at once vigorous and graceful. Mark and Romeo, and principal dancer Joshua Enciso who is making his debut as Don Juan, are one in saying how they need to have that extra push to power through this specific part that runs for just a few minutes.
Mark and Abi will also dance the contemporary piece MAZN at the Indonesian Ballet Gala. Photo by Susan A. De Guzman
Oddly enough, it was this scene that produced moments of levity after a wardrobe malfunction happened in a past performance. An ornament from former BM principal dancer Rudy De Dios (as Don Juan) fell to floor after the intense fight on stage. Mark attempted to get it unobtrusively but instead ended up kicking it twice – towards the audience. “Naging comedy eh,” he recalls, shaking his head.
But for Mark, the mission for him in Ibong Adarna in his return bout as the eldest prince is incredibly clear. As Don Pedro, he must be cunning and aggressive to the hilt as projected through his appearance and through his movements. “Sana mainis ‘yung viewers sa akin. Parang ‘yung pag nanood ka ng soap opera, naiinis ka sa kontrabida. Meaning, effective ka.” (I hope viewers will hate me. It’s like when you’re watching a soap opera, you hate the villain. Which only means you are effective in the role.)
Related links:
Ballet Manila’s ‘Ibong Adarna’: A virtual exhibition
Perfecting Adarna: Gerardo Francisco Jr. takes his masterpiece to the next level
Ibong Adarna: A legendary tale borne on the wings of good old family values
Romeo Peralta Jr. leaps into villain territory once more in ‘Ibong Adarna’
From monkey to prince: Joshua Enciso’s epic ‘Adarna’ adventure
