Dissecting dance and choreography in ‘Florante at Laura’

After its world premiere last October 12, Ballet Manila’s Florante at Laura has reaped a generally positive assessment from various quarters. In this feature, we quote dance critic Marge Enriquez in her review for the Philippine Daily Inquirer, focusing on her description of the full-length ballet’s choreography and its dancers and pairing her words with pictures from the performance.

Photos by Giselle P. Kasilag

“Choreographer Gerardo Francisco’s signature angular movements were charged with the energy that pulsed through the dancers’ limbs. The war sections evoked the raw intensity of movie battle scenes, with dancers moving across the stage with a physicality that was both aggressive and earthy. They attacked with a rugged force, throwing themselves into the action with reckless abandon.” In photo, Joshua Enciso as Florante leads the charge.

“Cochoreographer Martin Lawrance’s choreographic style was refined and elegant, with thoughtfully constructed passages. The lyricism was born out of the use of gravity rebounded by breath and suspended movements.” In photo, Noah Esplana shows stage presence as Aladin.

“As Florante, a more artistically mature Joshua Enciso raised the bar.”

“Abigail Oliveiro seemed born to play Laura, radiating luminosity and effectively showcasing the contrast of vulnerability and strength.”

“Although Mark Sumaylo played the ruthless Sultan Ali-Adab to the hilt, his overhead lifts remained remarkably silky; Stephanie Santiago’s Flerida was expectedly powerful and urgent.”

“Romeo Peralta portrayed the villain (Adolfo) with a nuanced performance, avoiding excessive theatrics.”

“The real stars were BM’s ensemble, whose secure technique and athleticism were on full display in their warrior stances and breathtaking leaps.”