Standing Ovation: Ballet Philippines’ ‘La Sylphide:’ A Tragic Romance
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"La Sylphide," a romantic ballet in two acts, graced the stage as Ballet Philippines' season opener. This production, based on August Bournonville's 1836 choreography, is one of the world's oldest surviving ballets. At the Theatre at Solaire, expectations ran high as people anticipated Ballet Philippines’ first production for their 55th season.
What is ‘La Sylphide’ About?
The story unfolds in two acts, starting with the male protagonist: James Ruben. This young man is engaged to be married to Effie, but a flirtatious sylph entrances him and captures his heart. And what’s an old tragedy without a witch? The Old Madge appears and as expected, the “tragedy” begins to unfold. James abandons his wedding as the sylph entices him to follow her deep into the forest.
In the 2nd act, the audience is taken to a mystical woodland where the Old Madge seems to hatch a plan. James becomes further enamored by the sylph and her sisters so it should be “Happily Ever After,” right? Well, no. A magical scarf from the Old Madge somehow causes the sylph’s death. Talk about being horrible at giving gifts.
Manila’s Elite Embrace the Romance
The Theatre at Solaire exuded elegance that night, with Manila’s who’s who attending the gala night. “Modern Romance” was everywhere, especially as people strolled around in soft, flowing fabrics – embodying the free spirits of the sylphs. Ballet Philippines' President Kathleen Liechtenstein, in particular, gracefully commanded attention in an off-shoulder gown that made us think she was the leader of the forest sylphs.
In attendance were diplomats such as Consul Helen Ong from the Turkish Embassy, EU Ambassador Luc Veron, Moroccan Ambassador Mohammed Rida El Fassi, and Egyptian Ambassador Ahmed Shehabeldin.A lot of Manila’s elite were also present: the Grande Dame of Philippine Fashion Digna Rosales, Jessica Wilson, and Phoemela Baranda, among others. Ballet Philippines Chairman Tony Boy Cojuangco, Artistic Director Mikhail Martynyuk, and Trustee Bernie Aboitiz, along with CCP President Kaye Tinga proudly supported the production.
Representatives from the Philippine Navy, Army, and Civil Military Operations also watched the ballet performance, as part of Ballet Philippines’ project, “Men in Uniform.” Through another one of their projects, “Share the Magic,” they also invited several groups to watch “La Sylphide,” such as GMA’s Kapwa Ko, Mahal Ko, SOS Children’s Village Manila, Kalayaan Elementary School, Paranaque National High School, Good Shepherd, Sister of Mary, Schuller Christian Academy, Philippine Cancer Society, and Department of Education (DepEd) Navotas.
Theatre at Solaire was almost fully packed with all of the attendees who eagerly showed up to support some of the Philippines’ finest ballet dancers. Liechtenstein gratefully thanked everyone in her speech, “Every ticket you purchase supports the physical, financial, medical, and mental well-being of our dancers, allowing them to master the demanding techniques of productions, like ‘La Sylphide.’ Your support also enables us to stage exceptional performances, create new works, and reach out to inspire young minds across the country, enriching their lives with the art of ballet.”
Masterclass in Technique
The ballet dancers of Ballet Philippines showcased their mastery of the Bournonville technique – think graceful head tilts, flowy arm movements, and complex steps that would make our ankles cry. On a serious note, their graceful epaulement, fluid port de bras, and intricate footwork were worthy of much applause. The corps de ballet, in particular, exhibited an admirable level of synchronicity in their formulations, especially during the woodland scenes.
While the principal dancers portraying James and the Sylph were technically proficient, we can’t help but wish the Sylph had been a tad more flirtatious. To be clear, we do not condone his actions; leaving your fiancée to follow another girl (or in this case, a sylph) was all levels of wrong. But we’d understand his infatuation if the sylph had worked her magic more, put him under her spell and all. Humans, of course, are vulnerable to supernatural forces and witchcraft. All in all, their pas de deux was seamless and effectively showed off months of hard work and tremendous skill.
Speaking of witches, the standout performance undoubtedly came from the dancer portraying the Old Madge. Their portrayal of the witch, with their malevolent and dark movements, was a stark contrast against the ethereal, graceful actions of the sylphs. In Act II, the ensemble of sylphs executed their pieces with precision and lightness, showcasing the company’s tireless pursuit of perfect petit allegros, ballons, and batteries. It was a marvelous display of talent, all the while looking effortlessly elegant. If we attempted the same movements, we’d injure ourselves – but seeing their perfect postures had us instinctively straightening our backs when we watched. There’s that, at least.
Simple but Effective
While minimalistic and uncomplicated, the set design effectively transformed the stage of Solaire into a cozy, Scottish farmhouse and eventually, a misty, magical forest. The lighting also played a crucial role in setting the mystic, supernatural ambiance, especially in Act II. When the sylph in her all-white tutu danced by the door, however, the blue lighting made her glow – it was such an ethereal sight.
Their costumes adhered to the traditional romantic ballet style, with the corps de ballet in their iconic, long, white tutus. The sylphs’ costumes fit their otherworldly nature – but we wish their wings were a tad more prominent. In other words, bigger. While we were sat somewhat near the stage, their wings merely blended into their stark white costumes and during the sylph’s demise, her wings falling off added little drama to the scene. Mostly because we were unsure what exactly it was that fell off. We could chalk this up to our poor eyesight, but maybe she was also having a bad feather day?
As for the musical accompaniment, it was likely a recorded version of Herman Severin Løvenskiold's original score. While it provided a fitting backdrop, we couldn't help but think a live orchestra would have elevated the experience – though let’s be honest, the dancers were the real stars of the show.
Tale as Old as Time
“La Sylphide” explores timeless themes of love and temptation. With the supernatural forces at play, this ballet shines in displaying its romantic era roots. The romanticism in going for something unattainable, reveling in your earthly desires, and throwing it all away in pursuit of love.
Given the oh-so-familiar story and easily adaptable characters, we wish Ballet Philippines adapted “La Sylphide” into a more Filipino context. Using the elements of our Filipino culture could’ve been as simple as dressing them in traditional barong and Filipiniana, plus having fairies and witches wouldn’t have been so out of place either as we have both: diwatas and mangkukulams.
In the end, though, the story is a cautionary tale about the consequences of pursuing illusions at the expense of tangible relationships. Sometimes, folks, the grass is not greener on the other side – and maybe don’t accept “gifts” from strangers.
Excellent Season Starter
Ballet Philippines’ “La Sylphide” is a commendable effort to bring this romantic, ballet classic to Manila audiences. The technical prowess of the ballet dancers and the overall production made for a truly enjoyable evening – though we can’t help but think a bit more sylph flirtations might have taken it to the next level and maybe an infusion of Philippine culture.
For die-hard ballet fans and those familiar with the romantic era, this production offered a chance to see historically significant work performed with skill and grace. However, for those new to ballet, the subtle storytelling and emphasis on technique over dramatic flair might leave them a tad confused.
The production’s value, though, lies in its historical significance and the opportunity to see Ballet Philippines tackle a technically demanding classic. While it may not be the most accessible entry point for those unfamiliar with the art of ballet, it served as an excellent showcase of the company’s capabilities. What a fitting opener for their 55th season and fortunately, there’s more to come!
Ballet Philippines will showcase more contemporary works, such as “Peter Pan” for their Christmas production and an original Filipiniana ballet, “Ang Panaginip” which will make its world premiere in March 2025. We’re particularly excited about the latter as it promises to celebrate our country’s rich cultural heritage. “La Sylphide” set the bar high and we look forward to the company’s future performances.
For more details, stay tuned to Ballet Philippines’ website and follow them on Facebook, Instagram, and TikTok.
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