Cover ‘Peter and the Wolf, and Little Red Riding Hood’ at the Theatre at Solaire: Manila Symphony Orchestra’s president of the board of trustees Maan Hontiveros, Repertory Philippines’ president and CEO Mindy Perez-Rubio and Ballet Philippines’ president Kathleen Liechtenstein (Photo: courtesy of Buensalido Public Relations)
‘Peter and the Wolf, and Little Red Riding Hood’ at the Theatre at Solaire: Manila Symphony Orchestra’s president of the board of trustees Maan Hontiveros, Repertory Philippines’ president and CEO Mindy Perez-Rubio and Ballet Philippines’ president Kathleen Liechtenstein (Photo: courtesy of Buensalido Public Relations)
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Ballet Philippines, Repertory Philippines and the Manila Symphony Orchestra mounted their joint production of ‘Peter and the Wolf, and Little Red Riding Hood’ at the Theatre at Solaire
For the first time ever, Repertory Philippines’ (REP) musical theatre actors, alongside the Ballet Philippines (BP) dancers, performed onstage at the Theatre at Solaire as the Manila Symphony Orchestra (MSO) mesmerised audiences with their rendition of Sergei Prokofiev, Camille Saint-Saëns, Edvard Grieg and Nikolai Rimsky-Korsakov’s music under the baton of MSO’s music director and principal conductor Marlon Chen. Catering to today’s generation of theatregoers, the three premier productions in the Philippine art scene rendered a twinbill production, emphasising themes of heroism and childlike wonder.
In case you missed it Three masters, one stage: ‘Peter and the Wolf’ and ‘Little Red Riding Hood’ hit the stage this August
Above Elian Santos plays the role of Peter in ‘Peter and the Wolf’
Elian Santos plays the role of Peter in ‘Peter and the Wolf’
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Despite the minimalism of the production and costume design, what truly captivated the audience was the actors’ efficient portrayal of their roles and the orchestra’s masterful take on the music.
In Peter and the Wolf, which served as the production’s first act, the genius of Prokofiev’s score lies in how themes from different musical instruments interact and develop throughout the narrative. When characters are together, their themes are played simultaneously, creating a rich tapestry of sound. For example, when the bird and the duck are arguing, the flute and oboe themes are heard in a playful back-and-forth. The music becomes more urgent and dissonant as the wolf appears and chases the duck, creating tension and drama. By the end, during the triumphant parade to the zoo, the themes of Peter, the bird and the hunters are all brought together in a final, joyous march.
Above Nobel Peace Prize winner Maria Ressa graced the August 1 gala show as the designated narrator for ‘Peter and the Wolf’
Nobel Peace Prize winner Maria Ressa graced the August 1 gala show as the designated narrator for ‘Peter and the Wolf’
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Peter and the Wolf’s leitmotif, where a specific musical theme and instrument are assigned to each character, was made more effective by having an entertaining and well-versed narrator in every show. The gala show last August 1 was graced by Nobel Peace Prize winner Maria Ressa, who, in fact, was a trained classical musician in her youth. The succeeding shows of Peter and the Wolf had Akiko Thomson-Guevara, Liza Chan-Parpan, Karylle Tatlonghari and Tim Yap.
“I’ve dreamed of producing Peter and the Wolf ever since my days with the San Francisco Symphony,” says Mindy Perez-Rubio, president and CEO of REP. “It’s a timeless classic... and I knew it had the power to inspire young audiences if presented the right way. To bring it to life on a truly grand scale, I knew REP couldn’t do it alone.”
Read more: Cultivating opera and orchestra music in the Philippines
Above Rudolph Capongco plays the Wolf opposite Jemima Reyes-Ocampo who plays the titular role of the Little Red Riding Hood
Rudolph Capongco plays the Wolf opposite Jemima Reyes-Ocampo who plays the titular role of the Little Red Riding Hood
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Ballet Philippines’ recent staging of Little Red Riding Hood offered a fresh, if at times perplexing, take on the classic fairy tale. Artistic director Mikhail Martynyuk boldly crafted a musical score from a patchwork of masterpieces, primarily centred on Saint-Saëns’s playful Carnival of the Animals, with evocative flourishes from Grieg and Rimsky-Korsakov.
Martynyuk’s narrative choices further distinguished this production. This was not the grim tale we know from the Brothers Grimm; instead, Little Red Riding Hood’s journey was a whimsical odyssey through the woods, encountering a host of charming woodland creatures. The Big Bad Wolf, in a fascinating departure, was less a predator and more a cunning seducer. The ballet’s climax, however, felt a bit disjointed, with the narrative logic taking a backseat to the spectacle. The sudden appearance of woodcutters to save the day left one questioning the very premise, though it provided a welcome burst of choreography.
Above The Manila Symphony Orchestra under the baton of Marlon Chen
The Manila Symphony Orchestra under the baton of Marlon Chen
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“This season is a fusion of classical tradition and bold innovation,” says Martynyuk. “To our dancers, collaborators, and supporters: live this dream. The stage is where imagination becomes reality. Let us keep creating, performing and growing—even through challenges. This is what theatre, and life, demands of us.”
It was a thrill to watch MSO lead the two productions with their rendition of the incredible music of Prokofiev and other notable composers. However, some guests may have preferred listening to the full orchestrations without auditory amplifications and with a proper grand piano. Though the theatrical experience was deliberately at the forefront of the show, the orchestra nevertheless did not let the music get sidelined.
Above The Manila Symphony Orchestra under the baton of Marlon Chen
The Manila Symphony Orchestra under the baton of Marlon Chen
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The production marks not only an artistic milestone but also a major community outreach initiative. As part of the programme, seats were made available free of charge for families from selected barangays, giving underserved communities access to a transformative performing arts experience.
“This initiative is about more than just performance—it’s about access, education and inspiring the next generation,” says Perez-Rubio, BP President Kathleen Liechtenstein and MSO executive director Jeffrey Solares in a joint statement. “By opening our doors to families from across the community, we hope to spark a lifelong love for the arts.”
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About
Before assuming the Art and Culture Editor position, Franz has always had a penchant for visual and performing arts. He is passionate about exploring and writing about the local cultural scene and rediscovering the country’s storied past and rich heritage. Besides working on this luxury lifestyle magazine, Franz is an avid book reader, local traveller, museum-goer, chorister, and community theatre playwright.
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Franz earned a degree in Journalism from the University of Santo Tomas. He writes about local visual and performing artists and their craft; drinks wines, liquors, and spirits and talks about the creativity of their respective winemakers and master blenders; tries to learn more about business and investments; respects the tradition and artistry that go behind the making of watches and jewellery; and appreciates the genius of architecture and creative design.
As head of Tatler Philippines’ pool of writers, he helps them bring impactful and socially relevant stories to light.
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