Romeo Peralta Jr. leaps into villain territory once more in ‘Ibong Adarna’
The fight scene in Act 2 of Ibong Adarna is possibly one of the most breathtaking sequences ever made for ballet. Romeo (left) rehearses with Joshua Enciso and Mark Sumaylo in Ballet Manila’s Studio 1. Photo by Giselle P. Kasilag
By Susan A. De Guzman
In his 23-year career with Ballet Manila, beginning as a scholar and rising to principal dancer, Romeo Peralta Jr. has played his fair share of virtuous princes. As Albrecht in Giselle and Siegfried in Swan Lake, he has sworn eternal love to his partners despite the odds. In the fairy tale ballets Snow White and Sleeping Beauty, he has come to the rescue of princesses in peril and walked off with them towards happy endings.
Romeo Peralta Jr. has played his fair share of virtuous princes but he welcomes being cast as the occasional villain too. Photo by Giselle P. Kasilag
But while stepping into a prince’s shoes may be the ultimate goal for a danseur, Romeo finds satisfaction as well in being cast as the villain – the likes of the slave trader Lankadem in Le Corsaire and the murderous Tybalt in Romeo and Juliet. He has mused in a past interview, “Marami-rami na rin ang mga villain roles ko, at parang mas gusto ko na ako ang nanggugulo kaysa sa pagiging bida.” (I’ve been assigned many villain roles, and I seem to prefer being the character who causes trouble rather than being the hero).
Romeo has explained the attraction to bad-boy roles this way: “Dahil siguro mahilig ako sa mga intense na scenes. Iba ang feeling kapag ikaw si Tybalt sa Romeo and Juliet, si Diego sa [Ibong] Adarna, Don Jose sa Carmen. Mas na-e-explore mo ang character at napi-feel ‘yung intensity ng moment.” (It’s probably because I enjoy intense scenes. You feel different when you’re playing Tybalt in Romeo and Juliet, Diego in Ibong Adarna and Don Jose in Carmen. I get to explore my character more and really be in the moment when I play the villain.)
One must have stamina and focus to be able to take on the role of Don Diego, says Ballet Manila principal dancer Romeo Peralta Jr. Photo courtesy of MarBi Photography and Project Art
Which is why the return of Ballet Manila’s Ibong Adarna is a welcome development for him as he gets to be Don Diego again. Delving into the character, Romeo paints the secondborn prince Diego as arrogant. “May angas (He has an attitude),” as he puts it. With moustache, beard and slicked-back hair, casting looks that could kill, he transforms into a formidable persona. But Diego is a conflicted anti-hero – unwilling to feed the hungry hermit in the forest, but ready to rescue an Amazona in distress.
The fight scene in Act 2 is what Romeo’s particularly bracing himself for. Possibly one of the most breathtaking sequences ever made for ballet (both for the performers and the audience), it shows the three brothers Diego, Pedro (Mark Sumaylo) and Juan (Joshua Enciso) wrangling over the Ibong Adarna. It is Juan who has actually lassoed the elusive bird, but Diego and Pedro connive to overpower their brother so they can bring it back to the ailing king and take credit for its capture.
When Ibong Adarna made its world premiere in 2017, Romeo found out just how physically taxing being Diego could be. Moreso when his alternate then got injured and he had to take over that dancer’s shows as well. By the end of the two-weekend run, his legs had almost turned into jelly.
There’s an intensity to playing the bad guy that Romeo likes: (left) as the slave trader Lankadem in Le Corsaire (2013) and (right) as the menacing Tybalt in Sergey Vikulov’s Romeo and Juliet (2014). Photos by Ocs Alvarez
He can laugh at the memory now, relieved that he made it through those grueling days. Asked if he could still do the same now, six years later, Romeo smilingly opines, “Kaya pa naman siguro.” (It’s probably still doable.) But thankfully, there are just two shows to concentrate on this time, and long before the curtains open on August 19 and 20 at Aliw Theater, he had been steeling himself to step into Don Diego’s shoes again.
“Stamina at focus talaga,” Romeo stresses, citing what his role requires. In Act 1, the concentration is more on Pedro and Diego as each embarks on their respective journeys to look for the Adarna. “Kailangan hanapan mo ng way para maka-relax nang konti, kasi aggressive na naman ang kasunod. Paggising ko pa lang mula du’n sa pagiging bato, nagre-ready na ako, in anticipation of going into the fight scene. Kada exit namin pagkuha nu’ng cage, tinatago ko ‘yung paghinga. Ang lalim sa loob eh, para hindi halata.” (You have to find a way to relax a bit because what happens next is aggressive again. When I wake up from being a stone figure, I’m already getting ready, in anticipation of going into the fight scene. Whenever we exit after getting the cage, I try to hide my breathing. It has to be hidden deep inside, so it won’t be too obvious.)
Indeed, punches fly, kicks are aplenty and there’s a scuffle to get hold of the caged Adarna. But this high-octane battle, amped up by the suspenseful music of Diwa De Leon, is executed with such inimitable flair and grace. “Cinematic pero ballet,” describes Geri Francisco who decided to add a few more moves into the choreography, among the tweaks he is doing for this staging.
The three princes of Ibong Adarna with choreographer Gerardo Francisco Jr.: (from left) Mark Sumaylo as Don Pedro, Joshua Enciso as Don Juan and Romeo Peralta Jr. as Don Diego. Photo by Giselle P. Kasilag
“Before, it was good. Pero may itsura na gusto kong mangyari. May nakikita pa akong puwedeng gawin – ‘yung sa atake, hindi na naghe-hesitate, binubuhos na nila. (There’s a look that I still want to happen. I still see that there’s something more that can be done – in the approach, that they don’t hesitate anymore and they give it their all.) I want the flow to be more organic, more realistic, not choreographic to look at. Parang sine siyang pinapanood mo (It’s like a movie that you’re watching),” intones Geri.
Romeo points out that the three of them in the scene must also expect the unexpected, saying actual contact is unavoidable because of its forceful nature and relentless pace. “Never naging isa ‘yun na pare-parehas; may nangyayaring iba. Dapat talaga open kami sa puwedeng mangyari on stage kasi medyo dangerous din ‘yung ibang part.” (It has never happened that it comes out the same; something different always happens. We should really be open on what could happen on stage because some parts are also a bit dangerous.)
Romeo as Don Diego is presented at the palace in this scene from a 2019 production of Ibong Adarna. To his left facing the audience is then corps member, now principal artist, Joshua Enciso who is portraying Don Juan for the first time. Photo by Giselle P. Kasilag
The danseur says they are fortunate that Geri has been open to changes and allows them to delve further into their roles. “Open pa rin sa new steps; may mga binago, may mga dinagdag. (It’s still open to new steps; there are changes, there are additions.) Aside from learning the role, it’s also how you tell the story whether it’s a jump or a little gesture that makes it fresh. Kahit tumatakbo ka lang sa stage (even if you’re just running across the stage), you have to sustain the story and the character.”
With the return of Ibong Adarna, he is getting to sink his teeth anew into a favorite villain role. Once the armor is on and the death stare is in place, expect Romeo the amiable danseur to fade and Diego the fierce prince to appear, ready to stir trouble on stage.
