Medora-in-the-making: Pia Dames on what it takes to be the lead female in the beloved pirate ballet
In 2018, Pia Dames danced the supporting role of Gulnara in the pirate adventure. Photo by Giselle P. Kasilag
By Jv Ramos
Principal dancer Jasmine Pia Dames is happy to be dancing the female lead in Le Corsaire, a role that so mesmerized her in 2018. Photo by Giselle P. Kasilag
Le Corsaire is a staple in Ballet Manila’s repertoire so if a dancer has been with the company for five years or more, chances are they have performed roles in this classic. In Jasmine Pia Dames’ case, from being the supporting female character, Gulnara, in 2018, she will be portraying Medora, the lady love of Conrad in Lisa Macuja Elizalde’s choreography of the pirate ballet. In Le Corsaire, set to premiere on National Arts Month, Pia will be dancing once again with fellow principal artist Romeo Peralta, who played her prince in Sleeping Beauty.
“Sobrang maganda nga siyang i-lookback,” comments Pia when asked about her personal history with Le Corsaire. (It’s very beautiful to look back on it.) Back in 2018, when she was still a soloist, Pia remembers being so mesmerized by principal ballerina Abigail Oliveiro’s portrayal of Medora with whom she is sharing the role this time around. “Sobrang ganda niyang tignan, lalong-lalo na sa part ng pagkatapos ng Naila Waltz. Nu’ng nag-ba-balance siya na kasama ang corps, naisip ko nga, ‘Kailan ko kaya magagawa ito?” (She was very beautiful to look at, especially when she was dancing after the Naila Waltz. When she was doing balances with the corps de ballet, I was thinking, ‘When can I dance that part?’)
Pia is paired anew with Romeo Peralta Jr. in their debut as Conrad and Medora. Photo by Giselle P. Kasilag
That moment for Pia was more about worry than wonder, as her body wasn’t that strong enough yet to take on many full-length roles. Recovering from an injured shin, she struggled to dance her best in her first Le Corsaire. She narrates, “Kapag nag-re-rehearse kami for Gulnara noong 2018, sobrang nahihirapan ako sa mga pa-diagonal na kailangan kong gawin. Nag-sa-start pa lang kasi ako ng strength training noon, kaya kahit pati sa mga klase, madali ako mapagod.” (Whenever we’d rehearse for Gulnara in 2018, I’d always find it difficult to execute the diagonal parts. That’s because I just started my strength-training after recovering from an injury. Back then, I also couldn’t finish our classes because I’d get tired easily.)
“Sobrang grateful ako na nalampasan ko iyon,” informs Pia, who has since starred in a number of full-length productions. “Bukod sa pagiging Medora ko ngayon, ako rin ang isa sa mga Odalisque tuwing si Abi ang Medora. Parehong mabigat ang roles na ito, at dahil nakakaya ng katawan ko, alam ko na worth it ang lahat ng pinaghirapan ko, lalong lalo na sa strengthening and conditioning, ng ilang taon.” (I’m very grateful that I was able to overcome those times. Other than being cast as Medora, I’ll also be an Odalisque when it’s Abi’s turn to dance Medora. These roles are both difficult and because I’m able to do both, I know that everything I worked hard for, especially strengthening and conditioning, is worth it.)
In Lisa Macuja Elizalde’s Sleeping Beauty (2020), Pia was Princess Aurora to Romeo’s Desiré. Both say they have grown in their partnership over the years. Photo by Erickson Dela Cruz
Pia is especially grateful that her debut as Medora is in Lisa Macuja-Elizalde’s choreography of Le Corsaire, as it feels like learning an entirely new ballet – and one that’s more digestible to the audience. “Gulong-gulo ako sa original version at nakakatawa na ang daming beses na nahuhuli si Medora. Dito sa version ni Ma’am Lise, inayos niya ang flow. Hindi stupid si Medora na lagi na lang nahuhuli. Maganda rin ang version na ito dahil na-tsa-challenge ako!” (The flow of the original version confuses me as it's just silly how many times Medora is captured. In this version of Ma’am Lise, she fixed the flow of the story. Medora also isn’t stupid to get captured all the time. I also like this version because it challenges me.) Our subject shares that the artistic director has integrated more fouettés, added difficult combinations in Act I, and made the dancing more continuous for the lead couple.
Pia isn’t worried about the parts that require partnering as she is quite secure with those whom she is paired with – former principal dancer Rudy De Dios as Lankadem in 2018 and now with fellow principal dancer Romeo Peralta Jr. “Ang mga solos ko lang talaga ang very challenging sa akin. May mga times kasi talaga na na-o-overthink ko ang mga gagawin ko.” (It’s really just my solos that are very challenging for me. There are times when I overthink what I need to do.) To address this, Pia reminds herself to take things one step at a time. That she doesn’t have to be perfect at every turn and combination in every rehearsal; she works on learning and mastering details bit by bit until her mind and body are ready.
At the Ballet Manila Archives, Pia looks at the souvenir program of Ballet Manila’s first full-length Le Corsaire in 1998. The ballerina was only three years old then. Photo by Giselle P. Kasilag.
Pia recognizes that being a principal dancer, one has to be ready to take on any assignment, but she has to admit there are just some things one can’t control. In her case, a recent setback was having to dance using a new brand of pointe shoes, as her go-to Gaynor Minden has stopped producing US sizes. Having danced in Gaynor Mindens for fifteen years, she feels like she’s starting from zero with her Grishko pairs. “Malaking heartbreak sa isang ballerina na magbago ng pointes na nakasanayan. Pero nakayanan ko naman!” (It’s heartbreaking for a ballerina to no longer have access to pointe shoes that she grew up with. But I’m coping!”)
As Gulnara in 2018, Pia is partnered by former Ballet Manila principal dancer Rudy De Dios as Lankadem. Photo by Giselle P. Kasilag
Pia acknowledges her boyfriend Robert Osorio of Ballet Sports Science for assuring her that she can adjust to her new pointes in time for another full-length performance, and for preparing her body for all the heavy leg work she’ll be doing as Medora and an Odalisque. Sensing that 2024 would be a very busy year and a physically challenging one for her, she started to condition herself late last year. Even as the company was busy with its shows for Christmas and at Star City, she made sure to still go to the studo for workouts and strengthening exercises. “Mahirap nang maging complacent, lalo na kung bagong ballet ang gagawin.” (It’s not good to be complacent, especially when what you’re performing is a new ballet.)
The principal ballerina also credits her Conrad, Romeo “Kuya Meong” Peralta, in helping her develop the character of Medora. “Ang maganda sa amin ni Kuya Meong ay nasasabi ko sa kanya kung ano talaga ang nasa isip ko habang inaaral namin ang partnering, at na-wo-work namin ang mga adjustments together. Walang drama sa amin.” (The good thing about my partnership with Kuya Romeo is I’m able to articulate what I’m thinking as we’re studying our partnering, and we’re able to work on the needed adjustments together. There’s no drama between us.)
Pia and Romeo are equally adept in taking on classical pieces such as what they danced in Tuloy ang Sayaw-an (2019) or contemporary fare like Bam Damian’s El Adwa (2023). Photos by Erica Jacinto and Giselle P. Kasilag
She adds that the two of them discuss at what points they should push for something, and when they should take things easy and rest, so that they will both be in good condition for the actual show. “Process siya talaga at thankful ako kay Kuya Meong na nire-respeto niya ang process na ito. Very relaxed kami tuwing nag-pa-partner,” claims the ballerina, who first partnered with Romeo in Dancing to Verdi for a fundraiser in 2019. “Very happy ako na pareho kaming nag-grow sa partnership namin. Sobrang nene ko pa dati. At ngayon, siya ulit ang ka-full length ko! First time naming mag-Conrad at mag-Medora, at happy ako na sabay namin ito na-e-explore.” (Getting the partnering right is a process, and I’m very thankful that Kuya Meong respects this process. We’re very relaxed when we’re partnered with each other. I’m very happy that we grew together in our partnership. I remember being so immature next to him before. And now, we’re working on another full-length together! It’s our first time to be Conrad and Medora and I’m glad that we’re able to explore our roles together.)
Pia promises that Lisa Macuja Elizalde’s choreography of Le Corsaire is a must-watch. Photo by Giselle P. Kasilag
And how is Ballet Manila as a whole keeping up with the preparations for this new Le Corsaire? Pia puts forward that it won’t be as magnificent if the corps de ballet were not there. “Hindi lang siya tungkol kay Conrad o Medora o sina Gulnara. Pinaka-eye-catching talaga sa akin sa Le Corsaire ay ang mga ballerina na sabay-sabay na sumasayaw. Kaya ganu’n din ka-importante ang trabaho ng corps!” (The story isn’t just about Conrad or Medora or Gulnara. What’s most eye-catching for me in Le Corsaire is seeing the ballerinas dance as one. So really, the corps work is just as important as ours!)
“Ibang-iba ang Le Corsaire ni Ma’am Lise,” this Medora reiterates. “Dapat talaga mapanood ito!” (This Le Corsaire by Ma’am Lise is really different. It’s really a must-watch!)
