Cover The Sylph, played by Ballet Philippines principal dancer Jemima Reyes, hovers near the sleeping James, a whisper of dreams and enchantment in the gala performance of ‘La Sylphide’
The Sylph, played by Ballet Philippines principal dancer Jemima Reyes, hovers near the sleeping James, a whisper of dreams and enchantment in the gala performance of ‘La Sylphide’
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Everything we do has consequences for ourselves and others. Ballet Philippines’ ‘La Sylphide’ shows this best in a bittersweet tale of love and loss
Ballet Philippines president Kathleen Liechtenstein expressed her excitement about bringing La Sylphide to the Philippine stage for the first time, calling it a “relatable ballet about love that will stay in your heart like a beautiful dream.” Everyone’s interest was piqued, as what better way to captivate a Filipino audience than with a timeless romance story?
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Sitting alone in the familiar reds and blacks of the Theatre at Solaire on what should have been a romantic Friday evening, I arrived 20 minutes before the show began and decided to people-watch. Couples and families sauntered in, searching for their assigned seats, dressed in the best “modern romance” ensembles they could find. A young girl’s lovely lilac tulle dress caught my attention, as did an elderly woman’s formal but striking beige Filipiniana. Both outfits contrasted with the blue velvet gown I opted to wear for the night. Everyone seemed to have a different interpretation of the theme, much like love itself. But no matter how varied our opinions and interpretations may be, we all gathered for one reason—to be enchanted by timeless, romantic love in ballet.
La Sylphide is not a new story. A cherished classic, it is one of the world’s oldest surviving ballets, capturing audiences’ attention—like a man to a Sylph—since its premiere in 1832. Its enduring appeal lies in its haunting portrayal of love and its bold take on the concepts of desire and the unattainable. Ballet Philippines’ production of this classic explored these themes in a way that even the youngest audience members could understand.
Above Ballet Philippines principal dancer Rudolph Capongcol plays the role of James
Ballet Philippines principal dancer Rudolph Capongcol plays the role of James
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Above Ballet Philippines principal dancer Jemima Reyes embodies the ethereal Sylph with every delicate movement
Ballet Philippines principal dancer Jemima Reyes embodies the ethereal Sylph with every delicate movement
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Those around me held their breath as the first few notes of the overture played, followed by the slow rising of the theatre curtains. We saw several pairs of dancers finishing the piece, eventually leading to the introduction of the main characters. Soon-to-be-married James and his friends were dozing off in a humble home in Scotland (their nationality made obvious to new viewers by the kilts they wore) when an ethereal woodland fairy—the Sylph—danced giddily around the sleeping James. This was Jemima Reyes in her element. There was a stark contrast in how she moved compared to the previous dancers: more controlled, more graceful. Perhaps it was required for the role, but she delivered and proved her point nonetheless. The audience’s applause was proof enough.
Above Ballet Philippines principal dancer Nicole Barroso captivates as Effie, bringing vibrant energy and heartfelt emotion to the role
Ballet Philippines principal dancer Nicole Barroso captivates as Effie, bringing vibrant energy and heartfelt emotion to the role
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Apart from the curtain call, the only thing that rivalled such applause was the scene of the engaged couple James and Effie with their wedding guests. Artistic Director Mikhail Martynyuk had already teased this during the press preview, but it was a surprise nonetheless. The entire spectacle was a cardio workout routine at its worst or an infinite, never-ending dance at its best. Not a second was left to spare. It was a feat worth praising, as the entire ballet was performed en pointe.
Then the Sylph appeared again.
Above Ballet Philippines principal dancer Jemima Reyes plays the Sylph
Ballet Philippines principal dancer Jemima Reyes plays the Sylph
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Above Madge’s foreboding presence at the engagement party of James and Effie introduces an unexpected twist to the celebration
Madge’s foreboding presence at the engagement party of James and Effie introduces an unexpected twist to the celebration
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What is more heartbreaking than the person you love leaving you? A person you love leaving you on your wedding day. James’s desire for the Sylph was stronger than his love for Effie—leaving the bride heartbroken and alone, effectively fulfilling the witch Madge’s prophecy of James and Effie not marrying one another.
And so Act I ended. A jumble of emotions permeated the air: loss, pity, and a bit of shame. But there was also yearning and hope, especially from those sympathetic to James.
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Above Madge, played by Ballet Philippines' Peter San Juan, weaves a spellbinding dance with the enchanted scarf, casting a dark shadow over the events
Madge, played by Ballet Philippines' Peter San Juan, weaves a spellbinding dance with the enchanted scarf, casting a dark shadow over the events
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The lights went out again instantly, and the crowd witnessed Madge in her natural habitat. In what could be considered the best backdrop of the evening—huge, looming trees were placed around the stage, with the witch and her cauldron in the front and centre. The production opted for a more traditional look for the character, giving her prosthetics that resulted in a wrinkled, monstrous face. Other productions abroad skipped this type of mask. Still, it gave a sense of directness that helped us understand the story better. She is evil. She is powerful. And after a short number with her fellow witches, she had the scarf that would bring doom to the protagonists.
Above James and the Sylph dance together in a moment of poignant beauty, their movements weaving a tale of passion and longing
James and the Sylph dance together in a moment of poignant beauty, their movements weaving a tale of passion and longing
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James was fooled into accepting the bewitched scarf, desperate to have and hold the Sylph in his arms. Reyes and Rudolph Capongcol exuded the youthful recklessness and innocence required for their roles, which translated beautifully into their performance. Things finally spiralled out of control when she wore the scarf, their touching moment lasting only a second before the Sylph’s wings fell to the ground and she died.
Above James is heartbroken and stunned as the Sylph, draped in the enchanted scarf, lies on the floor, her presence fading
James is heartbroken and stunned as the Sylph, draped in the enchanted scarf, lies on the floor, her presence fading
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The final breaking point for James was seeing Effie and his friend, Gurn, happily getting married. With both the Sylph and Effie gone from his life, he had truly lost it all, reaping the consequences of his greed and desire.
The final scene with both James and Madge was dramatic, ending with the latter triumphant and vindicated. What could have made the ending significantly better would have been incorporating a small detail that other productions included: the witch’s reveal—lifting her skirt to flash a white tulle reminiscent of a Sylph, leaving it open for interpretation.
Above Madge revels in her victory, laughing triumphantly over the lifeless body of James in the haunting final moments of the show
Madge revels in her victory, laughing triumphantly over the lifeless body of James in the haunting final moments of the show
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La Sylphide is indeed timeless. The ballet masterfully captured the complexities of love and desire, reminding us of the nature of our passions and the consequences of our choices. The dancers brought this classic tale to life; each movement steeped in emotion and skill. The story’s bittersweet ending lingered in the air, leaving the audience in quiet contemplation as we exited the theatre. In the end, it wasn’t just the allure of the Sylph or James’s heartbreak that resonated, but the universal truths about love, loss, and longing that touched each of us somehow.
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Angela Nicole Regis Guiral is the assistant digital editor of Tatler Philippines. She studied journalism and has since written features that look closely at how culture, lifestyle and social impact converge, while occasionally wandering into the worlds of style and travel.
