Rising stars featured in PBT’s ‘Merry Widow’
Following the successful premiere of “Merry Widow” last year, Philippine Ballet Theater (PBT) is making a rerun by public demand.
Choreographed by artistic director Ronilo Jaynario, the ballet play is about an imaginary Balkan country, Pontevedro, which is in dire straits. In order to keep the money in the country, the ambassador, Baron Mirko Zeta, works out a plot. He sets up the wealthiest widow, Hanna Glawari, with the dashing but drunkard Count Danilo Danilovitsch, the embassy secretary.
Veronica Atienza and Kim Abrogena will reprise the title role, as with Hungarian guest artist Martin Buczko.
Atienza and Abrogena are in their early 20s, a stage when they’re coming to grips with adulthood and are still developing their artistry as ballerinas. They may seem too young for a sophisticated role like Hanna.
Jaynario recalled that when Atienza played Gamzatti and Abrogena portrayed Nikiya in “La Bayadere,” they were spontaneous in their rivalry over Solor. He has faith that these dancers could tackle “Merry Widow.”
Jury award
Atienza recently made news when she received the Special Jury Encouragement Award for the Senior Category at the 2018 USA International Ballet Competition (IBC) in Jackson, Mississippi. In 2016, she placed fourth in the World Ballet Competition in Florida.
To focus on the IBC, she went on leave from her marketing management studies. Part of her success is the wholehearted support of her family. She also cross-trains at Elan Ballet and Pilates Studio, which she claims has made her stronger.
Long hours were spent training with Jaynario, who choreographed two contemporary pieces, and with Russian balletmaster Anatoli Panasiukov for her four classical pieces, which included “Black Swan,” “Diana and Actaeon,” “Giselle” and “Esmeralda.”
After the competition, Atienza chose not to go to the job fair for foreign companies. She remains loyal to PBT. “It’s very classical,” she said.
Still, how could she act out a love story when her life revolved around home, school and ballet and she never experienced any major setback?
Atienza replied with a giggle, “It’s different when I’m onstage.” She prepared for Hanna by studying a video in Youtube and practiced expressions in front of a mirror. “First, it’s about technique, then as she matures, it’s the details,” Buczko on her behalf. Artistically revitalized Buczko approaches his role like an actor— dissecting the character, knowing the objectives and finding the keys to emotional preparation He was artistically revitalized after working as choreographer next to English director Irina Brook in Gounod’s “Roméo et Juliette “at Opéra Nice Côte d’Azur. He makes partnering look like a walk in the park. This danseur cross trains with highintensity interval training exercises using an app.
His performing prowess was honed by spending a decade with the Staatsballett Berlin. Today, he enjoys the freedom of a freelance artist despite the variable workload and income.
This year, he also performed in Deutsch Oper Berlin’s “Die Fliedermaus,” which was directed by French-Mexican tenor Rolando Villazon; played a bandit in a European film; portrayed Hilarion in Kuala Lumpur and conducted workshops. After PBT, he will play Conrad in a Japanese production of “Le Corsaire.” “This has given me personal growth,” he said.
Aside from leads, balletmaster Panasiukov, fondly called “Papa,” is credited for keeping the dancers enthusiastic. Hewill reprise his role as Baron Zeta.
Asked why he has dedicated 23 years of his life to PBT despite other offers, he answered, “It’s been like a family to me.”