Ballet Manila's Legacy Lives On

 

In preparation for penning my reflections on Ballet Manila's Pearl Gala, I revisited several articles I had previously written about the company. As this marks their 30th anniversary, it reminded me of Ballet Manila 2.0, their 20th anniversary celebration—a landmark event etched in my memory. A decade ago, I reached out to Ballet Manila's management to request a camera pass, eager to capture the essence of their 20th anniversary. This was my first foray into photographing professional dancers. I realized I had been capturing moments and writing about Ballet Manila for ten years. In that time, I have missed perhaps only one or two productions. Reminiscing further, I thought about all the shows I watched before that, and it brought me back to my childhood. At the risk of sounding old and ancient, I realized I was probably part of the first few batches of their captured audience. With my mom by my side, I was one of those who went to GSIS and watched their then-ultra-classical repertoire. It dawned on me that I literally grew up with this company. I may have danced for Ballet Philippines and Philippine Ballet Theatre, but it feels like I also know in depth what is at the core of Ballet Manila, having spent so much time in the theater with them.

A Little Bit of History

In the late nineties, ballet (at least for this author) seemed to be an ultra-small community dominated by a whole lot of ethnocentric people. Everything and everyone were so compartmentalized. You were either a follower of the radical contemporary movement, a lover of modern ballet and everything Ballet Philippines, or a follower of Philippine Ballet Theatre's sophisticated repertoire. Early on, as a child and then a teenager, I decided I loved it all in the same breath. As a young dancer who didn't understand politics, I valued them all equally, and so with my mom holding my hand, I watched them all. What a privilege it was to see all the companies shine in their respective areas of expertise. During the Pearl Gala, a short video showcased Ballet Manila's poorest state, dancing in the saddest of conditions. However, within the ballet community, they were never perceived this way. They were always presented as the rich private company that dared to ruffle the feathers of the dance community. Their first decade was not without challenges, but I reckon paying audiences never had an inkling about this. I can only speak for myself, but in the beginning, all I could see was their capacity to fill a theater with enthusiastic paying audience members. With a handful of dancers, they fought to perform full-length white ballets. With the help of companies like  Kremlin Ballet Theatre and Krasnoyarsk ballet, the audiences flocked to the theatre. They premiered white ballets one after the other completing must-haves like Swan Lake, Giselle, La Bayadere in no time. The bunhead in me was thrilled The trailblazers that they were, they brought in the full Russian roster. They had Tatiana A. Udalenkova (Lisa Macuja's teacher) as a visiting ballet master and Viktor Saveliev as their main ballet master, teaching their students and their teachers the Vaganova method of dancing and teaching. Their dancers were perfectly packaged in their classic maroon Ballet Manila shirts and jackets. Their marketing campaigns were brilliant, with their biggest asset in capturing audiences being their prima ballerina, Ms. Lisa Macuja-Elizalde.. They found a home theater in GSIS, and everything was simply beautiful at the ballet. To an audience member like me, it seemed they did the impossible. They existed comfortably as  a privately owned ballet company with a strong message for the public. Ballet Manila aimed to be  the gold standard in Classical Ballet as they still do today. 

Ballet Manila Goes Global

BM’s trajectory was always to establish itself as a global company. They did this through various collaborations, international tours, and more. However, in circa 2000, they achieved something unprecedented. Renowned dance critic Marge Enriquez noted that this period was perhaps BM’s most exciting era. First, they laid the groundwork for sustainability with their scholarship program, initially called Project Futures, which paved the way for the development of homegrown talent. Secondly, their roster of dancers increased significantly, producing accomplished principal dancers like Mylene Aggabao-Salgado and Dawna Mangahas. Additionally, they attracted foreign dancers to join the company as members and soloists. They had beautiful Korean and Malaysian dancers supplementing their already strong company. I can still remember being shocked when international dancers entered as big swans in one of their full-length productions of Swan Lake. It was breathtakingly beautiful, the diversity, the quality and the silent confidence that came with this. 

While these achievements were impressive, the highlight of this era was BM's production of world-class galas that invited top-tier talent to perform for Filipino audiences. The dance community flocked to Aliw Theatre when BM hosted the Asian leg of the Russian Stars of Ballet Gala in 2010. I was in the audience that night and I vividly remember the excitement as the crowd lost composure over the incredible Russian dancers on stage. I also felt a sense of pride knowing that Filipinos held their own in that prestigious lineup. Notable performances came from Jurgita Dronina of the Dutch National Ballet and Dimitri Zagrebin of the Bolshoi Ballet, both of whom drove the crowd wild. 

Cast of World Stars of Ballet By Ocs Alvarez BM Archives 

BM followed up in 2012 with the World Stars of Ballet, featuring performers like Paloma Herrera from the American Ballet Theatre, Yoel Carreno and Yolanda Correa Frias from the Norwegian National Ballet, and David Makhateli from The Royal Ballet, among others. In 2013, they produced a Filipino version of the gala, showcasing Filipino dancers who have excelled internationally, including Candice Adea, Jared Tan, Cristine Rocas, and more. I believe these galas were more than just ticket -selling events; they momentarily positioned the Philippines as a cultural destination, competitive with neighboring countries. For a time, we began to resemble a cultural hub for dance, appealing to a niche market of people who travel to different countries to experience art and theater.

Today, audiences often travel to Hong Kong or Singapore for international galas featuring a mix of global superstars. Although BM has not hosted such galas recently, the thrill of those past events left a lasting impact. There is no doubt that those performances inspired countless dancers who attended, as the beauty they witnessed on stage was undeniably uplifting. BM aimed to be globally competitive and they still do today.

Ballet Manila Today

As I mentioned, I covered their twentieth anniversary. In that article, I wrote, “Tiptoeing to the edge of the map need not mean letting go of who you are as a person. Ballet Manila shows us how it’s done right with Ballet Manila 2.0. Ballet Manila's reinvention is one that will take them to greater heights.” At that time, I discussed how Ballet Manila honored the past, embraced the present, and transitioned into a future where they could confidently navigate contemporary pieces. 

Paquita in BM 2.0 2015 Photography 

Paquita in BM Pearl Gala 2025 

Ten years later, they are no longer beginners in contemporary dance; in fact, they have the ability to excel at it. Their goal remains the same: to honor the past, embrace the present, and conquer the challenge of creating exceptional Filipino ballets and international-level divertissements to reach broader markets. As Lisa Macuja-Elizalde often says, “There’s no more place to go but up.” Surpassing what has come before is their ambition, and it’s heartwarming to witness the pulse of persistence in every dancer of the company. Ballet Manila aimed to be a company that could adapt to the times and they still do today. 

This resilience speaks volumes about Lisa Macuja-Elizalde’s leadership, which has grown increasingly pronounced over the years. Observing what the company has become is a testament to how her vision has transformed into a legacy enjoyed by different generations of dancers. There is no challenge that cannot be conquered and no obstacle that cannot be overcome. The goal is clear: the company must pursue progress. Embracing this mission has become part of their DNA, pushing them beyond their comfort zone. While not every show is a success, having a clear direction that resonates throughout the company is an achievement in itself.

The last decade has been the most challenging for the company. They survived the fire at Star City and the destruction of their home theater, the devastating floods that drove audiences away, and the COVID-19 pandemic along with its lingering effects that eliminated field trips to Aliw Theatre. They also faced the loss of sponsors still recovering from the pandemic and the migration of dancers. Despite a deluge of obstacles over the past ten years, Ballet Manila is stronger than ever. From ashes to arabesque, what a story. From twelve dancers when they started, they have over forty-five dancers today. From performing in gymnasiums, they have a newly renovated Aliw Theater with a capacity of over 1,800. Dozens of competitions were won. From purely classical repertoire to a diverse collection made by local and international choreographers. From no school to two schools with hundreds of students. From international guesting to producing international shows abroad. Not bad at all. With a culture of resilience, a clearly communicated vision for the company, and solid leadership, I believe that the best is yet to come. 

Pearl Gala Mini Review

Through the decades, Ballet Manila has evolved from a young company with bold aspirations to a resilient institution that has left an undeniable mark on Philippine ballet. From its classical roots to its expansion into contemporary works, the company has continually adapted while staying true to its core identity. As they celebrate their 30th anniversary, the Pearl Gala serves as both a tribute to their past and a testament to their present. The evening’s program reflected this journey, blending familiar classics with contemporary works that showcase how far Ballet Manila has come—and where they are headed next.

Interestingly, the lineup for the Pearl Gala was almost identical to that of Ballet 2.0. Staying true to their roots, they once again performed the "Paquita Divertissement," highlighting their dedication to classical ballet. "Paquita" has always been a signature piece for them; it served as the season finale during their inaugural year as a company and remains a tribute to their mentor, Russian ballet master Tatiana Udalenko, who restaged it for them. On gala night March 7, 2025, the performance of "Paquita" was a resounding success, showcasing the company's strength, impeccable synchronization, technical skill, and solid foundation in ballet. Their excellence in ensemble dancing deserves praise. Standouts included Shamira Drapete, with her long, lithe lines and youthful radiance, and Stephanie Santiago, who sliced through the air with her powerful jumps. The Principal pair, Mark Sumaylo and Abigail Oliveiro was elegance personified.  While all soloists displayed strong technique, some could benefit from relaxing more, playing with their movements, and engaging their breath.

Shamira Drapete  Paquita Soloist 

Stephanie Santiago Paquita Soloist 

One of the evening’s undeniable highlights was the restaging of Bloom, a contemporary masterpiece by Belgian-Colombian choreographer Annabelle Lopez Ochoa, first premiered during BM 2.0 in 2015. The piece showcased the striking contrast between the raw power of the male dancers and the refined grace of the women, resulting in a breathtaking display of athleticism and artistry.

Despite having seen this work before, I found myself just as captivated. The choreography's controlled chaos was mesmerizing—grand jetés launched one after another, partnering sequences defied gravity, and the energy on stage was electric. The men, in particular, moved with storm-like intensity, their jumps bold and commanding. Gerardo Francisco stood out, charging across the stage with unrelenting force, his contemporary technique pure gold.

Joshua Enciso and Stephanie Santiago delivered a pas de deux that was poetry in motion—fluid yet charged with a dynamic tension that made every movement compelling. A decade ago, Bloom positioned Ballet Manila as a serious contender in contemporary dance. This performance erased any lingering doubts: contemporary work is now one of their greatest strengths.

Gerardo Francisco 

Romeo Peralta with Pearl Dames 

Bloom World Premiere 2015 Brian Williamson and Abigail Oliveiro

Joshua Enciso and Stephanie Santiago  in Bloom 2025 

Replacing Osias Barroso’s "Etudes" was a new choreography by Lisa Macuja-Elizalde and Martin Lawrence—a bold attempt to merge neoclassical and classical influences. However, from a peaking performance in Act 1, the show faltered. There was a total disconnect between the vignettes. There was an awkwardness to the choreography that made you just cringe a little bit. Men in white tights dancing classical steps who suddenly roll to the floor was unsettling, to say the least. The abrupt style shifts from pulled-up backs to hip-hop movements were jarring. A large group of boys executing jetés en tournant would have been impressive if they had delivered better lines and timing. The black pearl pas de deux resembled a poor imitation of "Black Swan, leaving me confused about whether it was meant to be sexy, dark, or sweet. While Mark Sumaylo and Abigail Oliveiro poured their hearts into their performance, the choreography exposed their weaknesses rather than showcasing their full capacity

The ballet segments were a welcome respite. The pas de six, performed by Benedict Sabularse, Raphael Perez, Nanami Hasegawa, Shamira Drapete, Jessa Balote, and Francesca Raypon, offered a breath of fresh air, reminding me of what I love about Ballet Manila. The boys demonstrated undeniable technique, executing five pirouettes with impressive balance. Although not perfectly in sync, they performed impressive ala second turns, finishing them off with a pull-in on fondu to a relevé passé before landing (It’s hard to explain but this step is hard to pull off ). The audience was shocked to see such intricate steps performed by not one but two dancers, not even on the soloist roster. The girls complemented them as they embodied youth, lightness, and beauty.

There were other beautiful moments in "Pearls"; however they were fleeting. My overall impression was summarized by the appearance of the coda. Following the elegance of "Paquita" and the vibrancy of "Bloom," "Pearls" had its dancers huffing and puffing to finish their list of technical challenges. Some appeared to need medical assistance. With the exception of Shaira Comeros, who remarkably looked fresh from start to finish, this was not an ideal way to conclude the show. "Pearls," intended to impress by showcasing the layers of beauty within Ballet Manila, instead highlighted their flaws. Kudos to the dancers who persevered through it all.

Despite my reservations about the final piece, the evening concluded with enthusiastic applause from the audience. The dancers truly deserved the recognition they received, as did the artistic team who are the wind beneath their wings. Ballet Manila, through its three acts of life, has consistently moved forward with grace. In Act 1, they display bravery; in Act 2, they display transformation; and in Act 3, they display passion and purpose. I believe they will continue to write the chapters of another exciting adventure. After thirty years of being by their side, I wish them the best of luck and a mountain of opportunities to demonstrate that the Philippines is home to some of the best dancers in the world.

Agnes Locsin in a Different Light

In the heart of the upscale Insular Village 1 in Lanang, Davao City, an exhibit of national significance was unveiled on September 26, 2024. The Davao Museum of History and Ethnography launched "Dance is My Life," a tribute to National Artist for Dance Agnes Locsin.

The exhibit is the brainchild and was curated by Pam and Igy Castrillo, whose exhibitions have been featured at the Davao Museum of History and Ethnography, Museo Dabawenyo, and Ateneo de Davao University. Upon approval of the Museum’s Executive Director, Sylvia Lorenzana, Pam and Igy recruited Biag Gaongen, dance archivist, dancer, and current Associate Artistic Director of Locsin Dance Workshop to assist them in this endeavor.  Believing that Locsin’s story has the power to educate, move, and inspire people, the team mounted this exhibit with vigor, passion, and commitment.

I had the privilege of seeing this exhibit last November 11, 2024 toured by no other than National Artist Agnes Locsin herself.

Photo by Lucas Jacinto 

Spoiler Alert

                                   

The exhibit begins with a retrospective timeline that showcases key moments in Locsin’s life in dance. The first thing that catches your attention is a huge photo of two-and-a-half-year-old Agnes Locsin  (dressed in baby ballet attire) striking a pose. The charming picture was taken by her  father Jose S. Locsin who was a photographer of no mean talent. Locsin was largely trained in dance by her mother Car

The exhibit then moves on to two of the most compelling artifacts in the exhibit. You see a framed picture of Agnes’ first ever award in the arts - a Best Dancer Ribbon Medal that Locsin received when she was in Kindergarten.  Beside it is Locsin's National Artist Award. 

You see the actual ribbon - in mint condition - displayed a few steps away, an affirmation of Agnes’ mother’s deep pride and joy in her daughter.  This author could not help but tear up because clearly this section of the exhibit credits Locsin’s mother for instilling in her the joy of dancing, the need to celebrate the Filipino, and the power to educate others.

               

Locsin's retrospective features a few photos of herself.  A large image of her performing a tour jeté showcases her youth and agility. While Locsin is widely recognized as a prolific choreographer, the photo reminds us that she had many awe-inspiring moments on stage as a dancer. This particular photograph was also taken by her father, to whom she attributes her compositional skills and keen eye for aesthetics. 

                                       

Choreographic Pursuits

The exhibit uses technology to provide the audience with a glimpse of Locsin's masterpieces on televisions showing curated content on USB thumb drives, allowing navigation of some of her important works. 

Locsin rose to prominence by creating pieces that embody manifestations of Filipino identity and celebrate indigenous cultures, practices, and beliefs. She developed her own vocabulary of movement, establishing herself as a maverick in the field. Her pieces soon became social commentaries and call to action within the community. The videos clearly show that her genius has a range that is hard to rival. 

Selfless Declarations of Love

The imagery of her dancers dominates the exhibit. One striking image is that of Locsin teaching dancer and nephew Sonny Locsin how to elongate his body. I had the pleasure of hearing Agnes’ personal stories about her dancers. She talked about how her dancers - whom she called her “babies” - would influence her work or glorify her pieces. Her descriptions were profoundly moving. The exhibit is clearly also Locsin’s tribute to her dancers.

Exemplary Artworks

The exhibit displays artworks that showcase Locsin’s dance pieces. They include BenCab’s invaluable Sabel Series and Monette Pangan’s unique and ingenious sculptures. 

But for this author, the most important artworks are sketches done by Locsin herself. These are impressive, to say the least; her strokes are as detailed as her choreography with a strong vibe pretty much like her character. Locsin’s artwork is clearly another bold and creative attempt to explore art beyond her comfort zone. 

                                         

The exhibit closes with a window display of the Locsin Dance Workshop showing items from the past and the present. Locsin has now come full circle. She started in Locsin Dance Workshop as a dancer and choreographer, and she has returned to the same spot to ensure that the art continues in Davao. 

A curated exhibit on a National Artist often suggests that the viewer will encounter an academic review of historical milestones. This exhibit certainly fulfills that expectation; yet, beyond this scholarly requirement, what unfolds before you is Locsin’s very heart laid bare.

Prepared with such sensitivity, the exhibit portrays the National Artist in a different light.  This exhibit is a picture of her selfless disregard for her accomplishments. Instead, in full display is her gratitude for her early influences, her collaborators, projects close to her heart, and her hidden talents. 

                                                      

Photo by Lucas Jacinto 

Agnes Locsin is a teacher, a dancer, a storyteller, a trailblazer, and a Filipino. This exhibit is a true representation of her life - multifaceted, colorful, productive,e and inspiring.  

For the people in the area, this opportunity to get to know the pride of Davao should not be missed. There is too much to learn and too much to be proud of. People from all over should flock to Davao because this is a fleeting moment to be optimized. Understand Locsin and you will understand what being a true Filipino is all about.

REVIEW: ‘La Sylphide’s Cryptic Karma on Spotlight ( Republished)

This show makes it evident that Ballet Philippines has a wonderful ensemble of dancers who deserve to remain at the forefront of their performances. They don’t have just one bright star; they have many.

Ballet Philippines (BP) premiered a new addition to its classical repertoire at Solaire last weekend. La Sylphide played an important part in 18th-century ballet history. It was a turning point that elevated ballet to high art, introducing the romantic ballet era with innovations like pointe shoes and tutus. It generated interest from both new and old audiences. Ironically, this time for BP, La Sylphide had the same glorious effect for opposite reasons. 

The return to unadulterated classics, for this author, brought back the interest of real balletomanes. The semi-purist approach in staging re-established BP’s capability to delight audiences simply by showcasing the capacity of their dancers without the need for frills. It was lovely to see a ballet where the dancers alone were in the spotlight.

Quality Dancing

I watched two casts of La Sylphide on August 11, 2024. Both casts displayed a very high level of technical ability. Despite being the first romantic ballet, La Sylphide’s choreography is very difficult. Act 1, usually referred to as the human act, is performed almost entirely on soft shoes. The absence of pointe shoes does not mean the choreography is easy. It includes numerous small and quick beats and footwork acrobatics performed by the ensemble. Particularly for the male solos, they may appear easy without modern-day tricks, but executing the material cleanly is actually very challenging. The Bournonville style of dancing, which is used in La Sylphide, utilizes minimal and held arms, requiring the dancers to rely on the power of their legs and core for leaps and turns. 

In Act 2, the ballet shifts to an ethereal look that demands a completely different type of dancing. The earthy choreography is replaced by a sense of lightness. Floating balances and soft arms in abundance dominate the stage. That being said, this ballet demands not only pristine technique but also a significant amount of emotional expression as it is a story ballet. 

Overall, BP was triumphant in doing justice to this ballet, providing the distinct contrasting shades it needed to come alive. I would say this is BP’s redemption piece, re-establishing the company as a force to be reckoned with.

Cryptic Karma

The curtains rose to reveal the leading man, James, asleep and a sylph (a mythical spirit) by his side. A sylph had fallen in love with a human and wished to seduce him away from his fiancé, Effie, deterring his wedding. As the wedding preparations went on, a witch entered the assemblage of characters, much to the dismay of the rude James. She foretold the future, revealing that Effie was destined to be betrayed by James and would marry Gurn, who is James’ rival. In complete anger, James threw her out of the house.

James, completely captivated by the Sylph, was lured into the forest. Amidst the chaos of wedding preparations, Effie realized she had lost her groom and was devastated. In the forest, James found the witch, whom he rudely addressed. Wickedly, she offered him a scarf that ensured the Sylph would be forever bound to him. He accepted the scarf and reunited with the Sylph, excitedly placing the scarf around her body. But the witch was on a quest for revenge; the scarf severed the Sylph’s wings. James cried out in sorrow as the Sylph withered and died in his arms. As the Sylph transcended mortal ground, he witnessed his fiancé marrying his best friend. Weakened by heartache, the witch finished him off, resulting to his death. Karma was in full display, showing no mercy for an unkind and disloyal man.

The ballet opened with the dancers very dimly lit. The dancers, however, did not need much light because they brought their light from within. Darkly lit, they radiated with energy, setting the tone for the rest of the evening. They were determined to entertain, and they did.

In the matinee show, James was played by Ian Ocampo, who performed with obvious maturity. His dancing flowed like a stream of thought, continuing the conversation with every step. His portrayal depicted a pompous man who couldn’t resist falling in love with the Sylph, showing little regard for Effie. His approach made his death in the story bittersweet and ever so justifiable. On the technical side, he looked every bit prepared, showing off sure-footed beats with no signs of fatigue in the most difficult sections.

Ocampo’s Sylph was Jemima Reyes, who was technically superb. The fullness of her jumps was satisfying and, I would dare say, almost enchanting. Her grand jetes (leaps) ascended weightlessly with darting speed. Her arabesque balances were sustained and clean, with her carriage held high and soft, which is consistent with the style. While her impish characterization was genuinely entertaining, my favorite part of her dancing would probably be her sensitive portrayal of her death. I felt her disappear with her withering arms and softened glaze. I felt her vanish before my eyes, bringing the fantasy world closer to home. Partnered with Ocampo, who conveyed grief so beautifully, it evoked a moment of profound sorrow and left my eyes a bit misty.

Ballet Philippines principal dancer Rudolph Capongcol as James; Photo Credit: Ballet Philippines

The evening show brought forth a different take on the emotional narrative, but it was equally intoxicating. Rudolph Capongcol was a cerebral James with an elegant countenance. His infatuation with the Sylph was impulsive, like an irresistible drug. His technical performance was equally convincing. His two solos were flawlessly executed, with beautiful ballon and effortless cabrioles that seemed to defy gravity. His Sylph was the revelation of the evening. 

To my knowledge, Regina Magbitang had never danced anything from the romantic ballets before. Known for her feisty bravura style, Magbitang embodied femininity as the curtains rose. Her transformation was complete. As the Sylph, she was still naughty and sweet, but there was a seriousness in her desire for James. There was a newfound sophistication in her softness that I had never seen before. It is quite obvious that she had put a lot of work into her technique. The little details elevated her performance—articulated feet, graceful melt-through on pointes, wonderfully held back, and expanded port de bras (movement of the arms). Her seductive spontaneity created an interesting contrast with Capongcol’s steely gaze, and together they were a perfect fusion of fire and ice.

Ballet Philippines principal dancers Regina Magbitang as the Sylph and Rudolph Capongcol as James; Photo Credit: Ballet Philippines

I was particularly impressed with Clarise Miranda, who thoroughly embraced the essence of the era. While all the leads and soloists delivered, her style was by far the most authentic to that time period. Her emotional restraint was the perfect touch to complete the performance, and I eagerly anticipate seeing her in future lead roles.

The secondary leads also showed flavorful dancing. Dani Kleiner was sweet and endearing as Effie, while Nicole Barroso portrayed a delicate and devoted Effie. Eduardson Evangelio portrayed an aggressive and passionate Gurt, in contrast to Carlo Padoga’s self-assured, confident and calculating portrayal. I loved the variety among the performers. It reflects the freedom given to the dancers in navigating their art.

                                                  Clarise Miranda; Photo Credit: Ballet Philippines

Confusion

If there was anything to nitpick on, I would say the choreography of the Witch could be refined. While I thought veteran character dancer Peter San Juan delivered an amazing job in his characterization, I was confused about whether the Witch and their friends were intended to be portrayed as men or women. Madge was described as a woman, and the costume also seemed to indicate this. I feel the choreography and execution should have aligned.

In Act 1, James throws out San Juan effortlessly and if he was indeed a warlock, that would seem quite off. Having said that, his portrayal was pivotal in the storytelling, and the mismatched choreography did not detract from the magic of the overall performance. On another note, the synopsis mentioned showcasing something uniquely Filipino, but I found this to be a disservice to the Scottish culture as this element was not evident at all. 

Overall Triumph

Despite some elements that may cause confusion, this ballet is a triumph for me. I look forward to seeing more ballets of this caliber.

This show makes it evident that Ballet Philippines has a wonderful ensemble of dancers who deserve to remain at the forefront of their performances. They don’t have just one bright star; they have many. May audiences come to know them better and better through timeless classics that allow them to reach their fullest potential.

Show Dates: August 9-11, 2024

Venue:  The Theatre at Solaire

Running Time: 1.5 hours (without intermission)

Credits:

Artistic Director: Mikhail Martynuk

Technical Director: Luis Alcoran

Lighting Director: Clifford Remolador

Company: Ballet Philippines

Cast:

Sylphide: Jemima Reyes/Regina Magbitang/Nicole Barroso

James: Rudolph Capongcol/lan Ocampo

Gurn: Eduardson Evangelio/Carlo Padoga/Mark Anthony Balucay

Effie: Nicole Barroso/Idele Buhia/Danielle Kleiner

Mother: Ramona Yusay

Friend of Effie: Clarisse Miranda

Guests: Mark Anthony Balucay Emmerson Evangelio, Elijah Roca, Justin EdnaveCarl Lacaba, Earvin Guillermo, Carlo Padoga, Eduardson Evangelio,Joanne Gullermo, Idelle Buhia, Danielle Kleiner, Gia Gequinto, Olivia Bugayong. Ellạ Longgat, Ceana Armamento, Anielle Armamento, Karmin Loy, Mayim Hilomen, Alejandra Rovero, Pia Cabungcal, Anna Soriano

The Musicians: Alexis Piel, Cris Jay Malipot, Elijah Roca, Andrei Donesa, Justin Ednave

Warlock: Peter San Juan

Vassal: Elijah Roca, Justin Ednave, Cris Jay Malipot, Alexis Piel

Pas de trois: Regina Magbitang, Jemima Reyes, Clarise Miranda, Nicole Barroso, Daniele Kleiner

Sylphides: Clarise Miranda, Nicole Barroso  Regina Magbitang Danielle Kleiner, Olivia Bugayong, Gia Gequinto, Joanne Guillermo, Ramona Yusay, Idele Buhia, Eila Longgat, Ceana Armamento, Anielle Armamento, Karmin Loy, Mayim Hilomen Alejandra Rovero, Pia Cabungcal, Anna Soriano, Olivia Bugayong. Ellạ Longgat, Ceana Armamento, Anielle Armamento, Karmin Loy, Mayim Hilomen, Alejandra Rovero, Pia Cabungcal, Anna Soriano

Back to Back Ballet Classics

The month of August evokes a particular aesthetic. Thoughts of autumn colors, swirling leaves, and the magical glow of golden hour come to mind. In Taylor Swift's song, she sings of August slipping away like a bottle of wine, symbolizing missed romantic opportunities. It's almost as if August bring either solace or sadness, a pivotal moment in time. Ironically, Ballet Philippines (BP) and Ballet Manila will be performing romantic ballets that perfectly capture the essence of August mood. Ballet Philippines will kick off its 55th season with La Sylphide, while Ballet Manila (BM) will present Giselle. Tis the season for willowy ballerinas displaying lyrical softness and weightlessness. Tis the season for epic tragedy ballets.

Giselle (at least for this writer) has always been Ballet Manila's gem. It's the ballet that BM has perfected. Giselle stagings have consistently emphasized Ballet Manila's meticulously precise ensemble work, unity, and grace. Each staging of Giselle reiterates this to the ballet community. Lisa Macuja herself explained what makes Giselle a perfect fit for the company; "It's the style in which we take class every day. The disciplined use of the upper body and uniformed ports de bras is what the Vaganova style demands from the dancers when we take during class. Performing Giselle in the 'old romantic style' is something that is already ingrained in the dancers in Ballet Manila dancers. While a majority may advocate for updated versions the old ballets, I do hope that Ballet Manila can show audiences their good old white ballet magic once again. BM's Giselle always sounds like a good idea, especially because they offer two Russian Principal Dancer Renata Shakirova and Second Soloist Aleksei Timofeyev from the Mariinsky Ballet. Shakirova graduated from the Vaganova Ballet Academy, specifically from the class of Tatiana Udalenkova, who was also Lisa Macuja Elizalde's Vaganova teacher. She was promoted to Principal just recently. Timofeyev, a multiawarded dancer, also graduated from the Vaganova Ballet Academy. Their history creates a strong and charming connection. Macuja's vote of confidence for the pair makes this author giddy with excitement. What magic could this pair bring to Ballet Manila's precious gem? Our local stars, Abigail Oliveiro and Mark Sumaylo, are also set to perform in the Matinee. Stephanie Santiago will perform as Myrtha, and the Peasant Pas De Deux will be shared by Shaira Comeros and Joshua Enciso, as well as Pia Dames and Raphael Perez. Pearl Dames and Shaira Comeros will share the lead Wilis role. Ballet is all about tradition, and I have high hopes for this production. I echo Lisa Macuja-Elizalde's sentiments, that it is a privilege and an interesting challenge to pass on the style and knowledge to the next generation of ballerinas. Let's see if Ballet Manila can once again enthrall audiences with Giselle. The show opens with guest stars on August 31, 2024, at 8:00 PM at the Aliw Theater, followed by a 5:00 PM show on September 1, 2024. Tickets are available on Ticketworld.

On the other side of town, the stage will also be adorned in white tulle. For the first time in Ballet Philippines history, they will be staging one of the earliest romantic ballets ever created. Dance Critic Steve Villaruz captured it perfectly, describing "La Sylphide" as a delightful drizzle that inspires the imagination. The storyline is poetic, blending a love story elements of enchantment. When this ballet was last performed, it created quite a stir in Manila with critics showering it with praise. Philippine Ballet Theatre showcased its exceptional cast, including Lisa Macuja Elizalde with Osias Barosso, Anna Villadolid with Raoul Banzon. It was three decades ago, and at that time, it was considered challenging. I am curious to see how BP dancers will find it now, considering their enhanced level of athleticism. This ballet demands a lot from the dancers, with sophisticated refinement in movement and sections that require dynamism, quick and clean footwork, and balon. Truly this will be a great challenge for Ballet Philippines. Artistic Director Misha Martynuk explained that while there was no special training for the dancers, but there was emphasis on the quality of movement and a consistent need to train cardio to sustain stamina. This ballet presents an opportunity for growth and progress for the dancers. With such a talented group of performers, I am excited to see if they can rise to the occasion. Taking on the lead roles of Sylph and James are Jemima Reyes, Regina Magbitang, and Nicole Barosso, supported by Rudolph Capungcol and Ian Ocampo. Incidentally, the production of LA SYLPHIDE also inaugurates the season’s theme of relevé, which in ballet means to rise onto the tips of the toes. La Sylphide actually introduced the concept of going on pointe. I'm beyond excited to see if their show will actually be enpointe in quality and storytelling. The show opens on August 9-11, 2024, at the Solaire Theatre. Tickets are likewise available Ticketworld.

Jemima Reyes as Sylph (Photo Courtesy of Ballet Philippines)

Both of these shows have storylines that hint at tragedy, but I sincerely hope that they will be triumphant, filled with love and joy from both the dancers and the audience members. May they articulate the August mood and fill the stages with mystique and magic. Sending both companies a whole lot of love. shows are a must-see, and I encourage everyone to come and experience them. See you at the theatre.

PBT Continues to Make Legends Come Alive

The Philippine Ballet Theatre will have its world premiere of "Sarimanok" on July 6, 2024 at the Samsung Performing Arts Theatre. The ballet, which draws inspiration from the legendary bird of Philippine folklore, will showcase Ronilo Jaynario's brand of neoclassical choreography accompanied by the emotive music of renowned composer Paulo Zarate. This collaboration follows the success of their previous production, "Ibalon," the Bicolano Epic, which premiered in 2023. The production is a testament to the collaborative spirit of this team up. Jaynario expresses, "Ibalon made a strong impact on both the audience and the performers, receiving rave reviews and praise that any dance company would aspire to. So, the challenge is to achieve the same for 'Sarimanok.'"

                   

PBT President Marilou Magsaysay emphasizes that PBT will continue to pursue its vision. She firmly states, "We continue to create innovative performances that fuse classical technique, regional interpretation, and experimental forms, aiming to deliver a ballet experience that is uniquely Philippine Ballet Theatre." The company is dedicated to immortalizing our heritage through ballets that will be appreciated by generations of audiences.

Highlights of the Ballet

This ballet is actually a love story but it is more than that. A few highlights from the ballet include dances that bring contemporary relevance to cultural motifs. The legend of Sarimanok belongs to the vibrant Maranao culture. This ballet includes pieces that reimagine the Singkil, the Malong, and the Aper dances, which highlight our ethnic pride. The Singkil, often regarded as a quintessential Filipino dance, showcases the grace and composure of Filipinos in every situation. The Malong dance symbolizes versatility and functionality, while the Aper, a stately dance, represents pride and good upbringing. The Sarimanok, of course, symbolizes hope and providence. The inclusion of these pieces in the ballet is meant to remind audiences that these qualities are integral to our Filipino identity and should be embraced. Jaynario seizes the opportunity by magnifying his reimaginations of the dances, thrilling audiences with technically sophisticated ballet steps infused into the traditional pieces.

                     

                      

                       

Modern Orchestration

Zarate's score in this ballet captures the temperament of the Filipino. Each track not only mirrors our traditional music but also encapsulates the essence of our national spirit. Notable musical pieces in this ballet include a celebratory fiesta track, a bayanihan track, a romantic pas de deux track, and, of course, a Sarimanok track that evokes the energy of our Filipino festivals.

A Stellar Ensemble of Artists

                         

The ballet features a talented cast of artists who bring their exceptional talents and unique interpretations to this captivating story. Jessa Tangalin and Gladys Baybayan will share the role of the mythical Sarimanok. Alternating as the romantic couple of Indarapatra and the Moon Goddess will be Matthew Davo and Gabrielle Jaynario, and Jimmy Lumba and Joni Galeste. Lastly, Dom Delmo and Justin Orande will perform the role of Sulayman.

With Sarimanok being the second full-length Filipino ballet in a row, PBT hopes to send a strong message that their commitment to creating a national influence through their art is vibrant.

Sarimanok will be showing at the Samsung Performing Arts Theater on July 6 and 7. Tickets can be purchased through Ticketworld or reserved now through Philippine Ballet Theatre by emailing secretariat@pbt.org.ph or messaging 09688708887.

Dancers' Point of View

                      

How do you feel about the role that was entrusted to you?

ELOISA JESSA TANGALIN

Sarimanok

"Sarimanok is a vibrant display of Filipino culture and storytelling, fueled by dynamic choreography set to an empowering musical score. And being given such an important role is quite the challenge, but I feel very determined to do justice to the character and the entirety of the ballet."

GLADYS BAYBAYAN

Sarimanok

"Sarimanok is my first leading role with PBT, so there's a lot of extra pressure. I want to bring to life Teacher Ron's unique choreography and Sir Paulo's captivating music. So the experience for me was both really fun and challenging. In the process, I have to focus on perfecting the steps, turns, and especially the lifts, which push me out of my comfort zone. At the same time, I have to consider how to portray Sarimanok, who is not human. I'm pushing myself to hone my artistry and show the character of a mythical bird. But even with all these challenges, I enjoyed the process of becoming 'Sarimanok'."

                                                                          

JIMMY LUMBA

RAJAH INDARAPATRA

"As an artist, I believe it is our sacred duty to safeguard our history, traditions, and stories. In this time when our younger generation is less interested and seems to overlook the significance of stories like Sarimanok, we at PBT are dedicated and committed to honoring and preserving these narratives. Because these stories are not only part of our heritage, they are the very essence of our identity. It feels good to be able to take part in such an important advocacy."

MATTHEW DAVO

RAJAH INDARAPATRA

Dancing the role of Rajah Indarapatra has given me insight into the various lifestyles and customs in Maranao culture. What makes Sarimanok so interesting is that the music and choreography are designed to showcase Maranao props, movements, and beats but still have a hint of ballet. Through this role, I've learned that true love triumphs all, including familial love, love of duty, and love for the country.

GABBIE JAYNARIO

Moon Goddess"I am deeply honored to portray a role that holds significant importance in the ballet's plot. Dancing a captivating choreography that makes you feel as if you are floating above the clouds is a once-in-a-lifetime artistic satisfaction. Through the privilege of dance, I hope to bring the same satisfaction to the audience. I am thrilled for this role and grateful to be part of a production that proudly showcases Filipino culture and tradition."

What is the symbolic meaning of the Sarimanok?

GABBY JAYNARIO

Moon Goddess

The word Sarimanok can be divided into two parts: "Sari" meaning colorful garments, and "Manok" meaning chicken. A colorful chicken symbolizes good fortune and prosperity. I believe that our culture is adorned with various symbols and cultural icons, like the Sarimanok, to reflect our Filipino values of gratitude and thankfulness. We believe that when good things come our way, it is a blessing from the heavens. And when we receive blessings, we offer them back up to the sky. Just like in the ballet, the Sarimanok is a vessel through which the Moon Goddess blesses the Prince, lifting him up to the heavens as they celebrate their love.

Ron Jaynario

Artistic Director

Sarimanok is the act of being awakened by the rooster in the morning and receiving colorful blessings from above.

3. What lessons can be learned from the Sarimanok Story?

JIMMY LUMBA

Rajah Indarapatra

It may sound cliché, but it is true - pursuing happiness often requires sacrifices. Rajah Indarapatra's love for the Moon Goddess and his decision to leave behind everything he knew, including his kingdom and family, in order to be with her is both heart-wrenching and inspiring. It makes me reflect on the courage it takes to step into the unknown, leaving behind the comfort of familiarity while facing an uncertain future. The idea of not knowing what lies ahead, but holding onto hope that everything will ultimately be alright, serves as a powerful reminder of the complexities involved in the pursuit of true happiness.

                          

Philippine Ballet Theatre's Sarimanok is Ready to Soar

Philippine Ballet Theatre, with the generous support of Philippine Airlines and the Cultural Center of the Philippines, will showcase the rich ethnic glory and diversity of the Philippines through a fusion of classical ballet, regional dances, and mythology.

The goal of the Philippine Ballet Theatre is to share the captivating tale of Sarimanok, a bird from Filipino Mindanao mythology. This mythical creature, known for its vibrant feathers and enchanting presence, takes center stage in a ballet that transcends time and culture. The ballet tells the love story between a mortal and a moon goddess, revolving around the majestic Sarimanok.

Sarimanok symbolizes hope and abundant blessings, and Philippine Ballet Theatre sees the ballet as a divine gift. Through this performance, they aim to generate interest in our cultural heritage and showcase the talent of our current artists. Sarimanok is the artistic vision of Ronilo Jaynario, the Artistic Director and Resident Choreographer, set to the original music composed by Paulo Zarate, a highly acclaimed composer. Jaynario and Zarate aspire for ballet, like Sarimanok, to become a symbol of hope and an investment in the Filipino people.

Jaynario explained, "Ibalon made a powerful impact on both the audience and the performers. It received excellent reviews and accolades that any dance company would aspire to have. Therefore, our challenge is achieving the same impact level as Sarimanok. Creating such an impact is vital to us as a company”

Inspiration for the ballet comes from the story itself, the dancers' response to my movement that enhances the process, and the music that moves me in creating the choreography. I am incredibly grateful that Paulo Zarate is composing for PBT's Sarimanok."

Jessa Tangalin and Gladys Baybayin will share the role of the mythical Sarimanok.  Alternating as the romantic couple of  Indarapatra and Moon Goddess will be Matthew Davo and Gabrielle Jaynario and Jimmy Lumba and Joni Galeste. 

With Sarimanok being the second Full-length Filipino ballet in a row, PBT hopes to send out a strong message that their commitment to creating a national influence through their art is ablaze.

Sarimanok will be showing at Samsung Performing Arts Theater on   July 6 and 7 at the Samsung Performing Arts Theatre. Tickets can be purchased through Ticketworld or reserved now through Philippine Ballet Theatre by emailing secretariat@pbt.org.ph or messaging  09688708887.