Cover The Ibong Adarna making her first appearance
The Ibong Adarna making her first appearance
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An inside-look at the ‘Ibong Adarna’ re-staging last August 19 and 20
Love is sweeter the second time around, they say. And for Ballet Manila, it was as lovely as the magical Adarna bird’s melodies. Some people would argue that remakes and renditions are subpar to the original—sometimes uncreative. But Gerardo “Geri” Francisco, Jr’s re-telling of Ibong Adarna for the esteemed ballet company’s 25th season is successful in its attempt to show audiences that there is more to show from the story we all grew up with.
Ibong Adarna is not an unfamiliar piece: the epic poem was our official introduction to Filipino literature in high school. We all know King Fernando and Queen Valeriana, and their sons Don Pedro, Don Diego, and Don Juan. The King eventually suffers an incurable illness, and the three princes take it upon themselves to find the legendary Adarna bird whose healing powers can save their father. The re-staging was loyal to the plot; translated to a ballet version presented in the simplest way possible to capture the hearts of casual viewers.
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Above Lisa Macuja Elizalde and Geri Francisco, Jr
Lisa Macuja Elizalde and Geri Francisco, Jr
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Before the performance started, viewers were treated to the appearance of Francisco himself and Ballet Manila’s artistic director, Lisa Macuja Elizalde. Together, they graciously welcomed everyone who took the time to join them as the 25th season closed. The company rendered samples of some of the moves to be performed in the show. Francisco was as poised and flexible as ever, even as he danced in a suit. It was more than enough to energise the crowd.
As the show started, it’s worth noting that a key, notable difference with this Ibong Adarna from the 2017 edition was the stage. The Aliw Theatre suffered from a fire in 2019—and the props from the original show perished with it. “Everything is new. We’re also going digital this time,” says Francisco.
Above Don Pedro, Don Diego, and Don Juan’s entrance
Don Pedro, Don Diego, and Don Juan’s entrance
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The team had to create the props from scratch. A few sets used before were re-made, like the three movable staircases and the bed where the King rests and recuperates. Some of the bamboo backdrops were missing. In its position on the stage, a curved LED screen (a feature the theatre boasts after its reopening) towered high instead.
Francisco explains, “Of course, it is not to overpower the choreography and the dancing. It will only serve as support.” While adaptive and in the times, the huge bamboo extension stage that served as a backdrop in the first rendition was missed. The blaring screens, after all, can be a bit striking for some (and disturbing—particularly the patch of glitch that appeared during an act).
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Above The women of the kingdom of Berbania in a dance act
The women of the kingdom of Berbania in a dance act
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One of the reasons Ballet Manila chose Ibong Adarna among the many literary pieces they could have chosen was simple: they are hitting two birds with one stone. Apart from the soaring success of the production, they also gave wings to the academic sector by allowing Philippine literature the chance to reconnect with the people. And they did.
Much like the previous one, this version is unique as reimagined elements were used to paint the picture of the Filipino myth. The stage was filled with men who represented the archetypal Filipino warrior. In contrast, the women had a deliberate air of grace while still being powerful. Merged, they bring out a whole new meaning to folk dance, imbuing contemporary movements to their numbers.
Above Don Pedro ignoring a beggar’s plea in his journey towards Mount Tabor
Don Pedro ignoring a beggar’s plea in his journey towards Mount Tabor
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Francisco, apart from his ballet experience, is known for his choreographies. If the first production introduced his prowess to the industry, then this re-staging solidified it. His direction resulted in weaved patterns, masterful levels, and interesting sequences of images. His penchant for performing rhythmic, charged dances, which often require precision and quickness, was apparent and bolstered an energetic audience in exchange. The loud round of applause every after sequence was enough proof.
An improvement is the lack of curtain falls this time around. “I watched the video. I saw moments that dragged, and the pace slowed because of the set change. The transition sees the curtain falling, and the story loses momentum,” says Francisco, referring to the first production of Ibong Adarna. He made sure not to make the same mistake twice. The 2023 performance’s story is as smooth as the Adarna’s solos, with the dancers artfully moving the platforms and set pieces themselves.
Above The Ibong Adarna’s first appearance
The Ibong Adarna’s first appearance
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Speaking of the characters, this year’s cast was led by Abigail Oliveiro as Ibong Adarna, with Mark Sumaylo, Romeo Peralta Jr, and Joshua Enciso as the brothers. Oliveiro and Peralta performed their respective roles in all the stagings except for one, while Sumaylo also portrayed the shaman and ermitanyo before returning as Don Pedro.
Encisco, on the other hand, performed the role of Don Juan for the first time. This team’s chemistry was well received, evident in the performances that leaned towards the more natural and genuine rather than studied and practised.
Above The last act
The last act
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Francisco once admitted that “nobody’s perfect.” But he also said that “we can make things better.” Overall, with the success of the 25th season of Ballet Manila, it’s safe to say that he did. Ibong Adarna soared high the second time around.
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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.
