Ballet Manila at 30: Raising the Bar for the People

 “Ballet for the people” has been  Ballet Manila’s battle cry since the very beginning.  While many interpret this as ballet for the common man, a deeper understanding of Artistic Director Lisa Macuja Elizalde will reveal her genuine intent not only to connect with new and loyal audiences but also her desire to create an impact on the local dance community.  She utilizes Ballet Manila not merely as a platform for education and entertainment, but as a means to elevate and empower local artists as well.

A Legacy Beyond the Stage

Beyond the numerous contributions of Ballet Manila, I find that one of the most distinctly remarkable is their ability to bring global talent to perform in our local theaters. Over the years, Ballet Manila’s international galas have become the stuff of legend — evenings that showcase the highest caliber of dance to local audiences and create ripples that extend far beyond the curtain call. These events have drawn new crowds to the theater, facilitated cultural exchange, and heightened the professionalism and overall technique of local dancers by exposing them to greatness. Most importantly, they present the Philippines as a cultural destination for experiencing beautiful ballets. It’s always a win-win situation.

I know I’ve written about this before, and if I seem repetitive, it’s because I admired the effort then and admire it even more as time passes. Last year, Ballet Manila brought Esteban Hernandez from the San Francisco Ballet to perform Don Quixote, along with Renata Shakirova and Alexei Timofeyev for Giselle. This year, on their 30th anniversary, Ballet Manila has outdone itself by bringing San Francisco Ballet stars Katherine Barkman and Esteban Hernandez back to perform Swan Lake. This will be followed by another set of guest principals from the Mariinsky Ballet. Once again, Renata Shakirova, partnered with the legendary Kimin Kim, will perform Don Quixote this August.

I cannot stress enough how beneficial this is for the dance community, especially for the morale of Ballet Manila's dancers. I’m certain that a new generation of ballet enthusiasts has been inspired by the buzz these performances generate. Don’t get me wrong; I celebrate local artists more than international ones, but a good boost from time to time positively shakes things up. After this season, I reckon I’ll be yearning to see more of our local stars. But for now, I'm enjoying my seat in that theater.

Swan Lake in Focus

This brings me back to the central theme of this reflection: Ballet Manila's Swan Lake. Was it perfect? No. Was it satisfying? Absolutely. BM has performed this quintessential white ballet in its entirety five times: in 2003, 2011, 2014, 2017, and, of course, 2025. Moreover, the Swan Lake Grand Pas de Deux has consistently graced their touring and mixed bill productions, firmly establishing their commitment to Russian classical ballet. With years of experience comes depth and a profound understanding of what it takes to stage such a demanding masterpiece.

The same can be said for the artists. I witnessed Katherine Barkman's debut as Odette and Odile in 2017. I described her Odette as weightless and ethereal, while her Odile exuded a wicked temperament that was thrilling to behold. In an interview, Barkman revealed how Macuja was instrumental in providing her artistic foundation, complemented by meticulous technical coaching. This support helped her take flight. Now, roughly seven years later, it seems that Barkman has truly grown her own wings. After earning her mark as First Soloist of San Francisco Ballet, she has danced as the Swan in three full-length productions and multiple international galas. Barkman's transformation is nothing short of striking.

Her Odette drew me in like a captivating painting, allowing me to perceive her silent cries. Beyond her refined technique, watching her was akin to reading a diary — she articulated her emotions with perfect pacing. Her movements seemed to unfold in slow motion, each gesture in harmony with the music. Her Odile, which I adored in 2017, was surpassed by her newly refined energy. Fully embodying the character, she commanded the stage with undeniable presence. Her solid technique elicited gasps from the audience, from her six-to-eight-second balances in attitude to her sudden bursts of energy in lifts. She embodied every inch of an international star. Her fouettés flowed effortlessly, igniting a controlled fire. It was a joy to witness a dancer you’ve long rooted for truly come into her own. Surely, she delivered an opening night performance that made her mentor proud.

Partnering her as Prince Siegfried was Esteban Hernandez. There is not much to be said for Hernandez that the dance world doesn’t already know. He has a calming presence about him. He is sure-footed and an amazing partner who supported Barkman beautifully. His crisp cabrioles, consistent quintuple pirouettes, and charming countenance made for an outstanding performance. Together, they were a strong pair.

The Rest of the Company

Swan Lake serves as the ultimate benchmark for a ballet company, requiring the entire ensemble—from the corps de ballet to the soloists and principals—to perform with equal strength. The corps de ballet was clean and polished, with formations executed beautifully, and the clarity of their lines was almost reminiscent of swan wings. However, I noticed that BM is moving toward universal inclusivity, which I respect, but lightness and range of movement must remain a priority. I have a minor concern regarding the emphasis some soloists place on flashy technique. For example, newly promoted Raphael Perez is a dancer I’m excited about. He has amazing potential. But for this production, I only recall his multiple pirouettes. He portrayed the Jester, a pivotal role in this ballet. In Act 1, the Jester acts almost as a narrator, orchestrating entrances and exits while providing comedic relief. While he was technically proficient and confident, I wish he had taken more ownership of the stage and incorporated more theatrical nuance.

I did, however, enjoy the pas de trois danced by Joshua Enciso, Shaira Comeros, and Pearl Dames. All three principal dancers displayed clean technique. Comeros, in particular, is a technician, who appeared light in everything she did — even the intricate footwork and difficult turns. There was a freshness in this trio that was very likable.

Beyond the Applause

The curtain call confirmed their success, but for me, the real win was Ballet Manila’s impact on the dance community. They empowered their dancers, elevated the audience’s standards, and inspired fellow artists. Any effort that does all three is truly worth the applause.

Ballet Manila is on a Generosity Streak ;Mariinsky Ballet superstars Kimin Kim and Renata Shakirova lead Ballet Manila’s Don Quixote

Mariinsky Ballet principal dancer Renata Shakirova returns to Manila to perform Don Quixote’s Kitri

                                      Mariinsky Ballet principal dancers Kimin Kim and Renata Shakirova

 

Ballet Manila’s Pearl Year Performance Season reaches a spectacular finale with the highly anticipated production of Don Quixote, featuring Mariinsky Ballet principal dancers Kimin Kim and Renata Shakirova. Taking on the role of Basilio, this marks Kim’s first ever performance in the Philippines.  Following her triumphant performance in Ballet Manila’s “Giselle” last year, Shakirova returns to perform the role of Kitri.

 

Kim is the first foreign male principal dancer in Mariinsky Ballet’s illustrious history, a groundbreaking achievement in the Russian ballet world. Born in Seoul, South Korea, he was introduced to ballet at the age of 10 when his mother, a composer, encouraged him to pursue the art. He trained under former Mariinsky soloists Margarita Kullik and Vladimir Kim at the Korea National University of Arts, refining his technique in the Vaganova method. His exceptional talent quickly gained international recognition, earning him top honors in prestigious ballet competitions, including Moscow, Varna, and Jackson.

 

In 2011, Kim was invited to audition for the Mariinsky Ballet, where he initially struggled with cultural and language barriers but persevered through rigorous training. His debut role as Ali in Le Corsaire showcased his impeccable turns, soaring jumps, and elegant stage presence, earning him rapid promotions within the company and eventually becoming the company’s first foreign male principal dancer in 2015.

 

Joining him in Don Quixote is Renata Shakirova a mentor-sibling of Lisa Macuja under Tatiana Udalenkova, and is a principal dancer of Mariinsky Ballet who is known for her grace, strength, and compelling storytelling. Kitri is one of her signature roles, as she made her first principal role debut in Don Quixote in 2015.

 

She captivated Manila audiences last year as Giselle, showcasing her ability to blend effortless elegance with emotional depth. Now, in Don Quixote, Shakirova brings her vivacious energy and impeccable technique to the role of Kitri, promising to deliver a dynamic portrayal alongside Kim’s spirited Basilio.

 

Lisa Macuja Elizalde, Ballet Manila’s Artistic Director, expressed her excitement about this landmark performance. "Having Kimin Kim and Renata Shakirova perform Don Quixote on our stage is a dream come true. Their artistry, strength, and star power will make this production truly unforgettable. We are honored to bring world-class ballet to Filipino audiences and celebrate our 30th anniversary with these incredible dancers." said Lisa.

 

The production, staged at Aliw Theater in Pasay City, will run on August 22, 2025 at 8:00 p.m., and August 23 and 24, 2025 at 5:00 p.m., serving as the grand conclusion to Ballet Manila’s 30th-anniversary celebration, highlighting the company’s commitment to bringing world-class ballet performances to Filipino audiences.

#pressrelease

Front Row Feelings (Not a Review)

 

Three Ballet Companies, One Week, and a Missed Opportunity

I’ve been privileged to watch three prominent dance companies perform, Philippine Ballet Theatre (PBT),  Alice Reyes Dance Philippines (ARDP), and Ballet Philippines (BP). Seeing them just days apart allowed me to gain a real sense of the current climate of the dance community. I’m floored by how beautifully these companies coexist, each with its own distinct brand. I appreciate that all the companies (including Ballet Manila, whose show in Dumaguete I missed) are unapologetically eager to flaunt their artistic identities and express—through dance—what they feel the audience needs to see.

A Quick Recap of What I Watched

Philippine Ballet Theatre, after a melodramatic and technically challenging performance of "Maria Makiling" at the Samsung Performing Arts Theater, opted to showcase "Music in Motion", a widely toured mixed-bill dance performance featuring 100% Original Pilipino Music. This was presented at the pre-opening show, marking a strong cultural debut for the new venue at the Rockwell Proscenium Theater.

Alice Reyes Dance Philippines came next, also at the Rockwell Proscenium Theater, with their performance of "Pasasalamat"—another pre-opening show. It was a thoughtful mixed bill featuring works by both local and international choreographers. Notably, the program included Erl Sorilla’s Juan Tamad, a multi-sensory neoclassical piece that wove together music, theater, and dance.

It’s worth noting that Pasasalamat followed Pagdiriwang, ARDP’s earlier program filled mostly with old favorites—“oldies but goodies,” as some might say. While Pagdiriwang was a celebration of tried-and-true repertoire, I admit I began to worry that the company might start playing it safe. But Pasasalamat put those fears to rest. It was predominantly composed of new works, reaffirming my belief that ARDP remains committed to traversing beyond its comfort zone and continually evolving its artistic voice.

Ballet Philippines, meanwhile, presented a family-friendly double bill of "Peter and the Wolf and Little Red Riding Hood", in collaboration with two cultural giants—Repertory Philippines and the Manila Symphony Orchestra. The production showcased the possibilities of movement contributing to theatrical storytelling—the magic of live symphonies dancing through the air—and, of course, their core offering: classical ballet.

On Yin and Yang, and the Power of Contrast

How beautiful is it that ARDP and Ballet Philippines both created—as stated clearly in their program notes—full-bodied pieces tailor-fit for children? Let me repeat that: both companies created works not for the elite, the high-nosed, or the so-called “cultured” art patrons, but for children.

ARDP brought to life the beloved Filipino stereotype Juan Tamad, along with other literary figures, in a way that had kids squealing in laughter and cheering for the heroine. In contrast, BP turned to Western fairy tales to educate and entertain, using the timeless magic of story to connect with its youngest viewers. These weren’t “watered-down” versions of ballet—they were custom-made works that prioritized a segment of the audience often hesitant or excluded from the traditional ballet experience. And both were so easy to love.

For a moment, in both shows, I felt like a kid again. The novelty of the characters, the richness of the music, the familiarity of the literary sources—all of it simply invoked joy. Choreographer Erl Sorilla captured the Filipino essence with humor and warmth, while Misha Martnyuk nailed the whimsy and wonder of fairy tale storytelling. Both works left their most important audiences—the children—with a clear and lasting moral, all while keeping the young at heart chuckling too.

ARDP and BP, like yin and yang, drew from both local and international literature and music—but with one shared goal: to spark delight and connection in young hearts.

Music in Motion—Literally and Emotionally

The Music in Motion repertoire features music by Jose Mari Chan, Raul Sunico, and hitmakers from beloved Filipino teleseryes. The musical choices resonate deeply with the everyday Filipino, and even if some elite audience members might deny it, I’ve witnessed impeccably dressed balletomanes humming and swaying along to the glorious tunes. Especially in the provinces, when this repertoire is performed, the crowd can’t help but cheer and move with the rhythm.

By depicting the beauty of mundane life in colorful and theatrical ways, the performance becomes ultra-relatable—though perhaps not for those who’ve never commuted, waited in line at a barangay hall, or crowned a neighborhood muse. Music in Motion turns unremarkable stories into remarkable experiences.

Recently, the company also revived Gener Caringal’s epic Bughaw, set to the music of Eraserheads, arranged in orchestral style by National Artist Ryan Cayabyab. Seeing that familiar music —presented in a stylized, glamorized ballet format—was simply breathtaking. It’s a powerful reminder that music not only sets the dancers in motion but also sets the audience’s emotions in motion.

Ballet Manila’s Musical Stylings

This show reminded me of another initiative from Ballet Manila. While BM did not continue my streak of show-watching because they were all the way in Dumaguete, I am quite familiar with Ballet and Ballads. It’s a unique program where the featured artists change each year, showcasing young and emerging talent. In a somewhat concert-like format, they draw crowds of young people eager to support their idols. Their collaborators include bands like Six Cycle Mind, Blaster, and Freestyle, as well as artists like Karylle and Toni Gonzaga, to name a few. Attend any Ballet and Ballads show, and you will witness the youthful energy in the audience, exhilarated by the experience. Imagine anticipating a performance from your musical idols, only to be mesmerized by the new experience of watching ballet.

The contrast and connectedness between PBT and Ballet Manila is, to me, incredibly refreshing. One feels like an old soul, reflecting on Filipino memory and identity to draw in new audiences. The other is bursting with the energy of now, riding today’s music scene to invite the next generation in. Their methods may differ, but their destination is the same: to use music as a bridge that draws people into the theater. And it just works. 

Creative Diversity as Lifeblood

Art is an equalizer—it can and should be enjoyed by every age, gender, and social class. The ballet companies I mentioned clearly understand this. They recognize that creative diversity is the life force that will keep the dance community growing.

Creative diversity in art is not limited to the innovation of techniques, styles, or genres; it encompasses the intentional creation of works that resonate with new audiences. This means crafting narratives, visuals, or performances that speak to previously unheard voices, underrepresented communities, or emerging cultural currents. It involves dancing in ways that welcome—and reflect—the people watching.

A Closing Note

I can confidently say that in art, there is no perfect formula and never a perfect execution. However, if it helps people feel something, think of something, or love something, then the journey is well worth it. Anything that moves a person is HIGH ART—let no one tell you otherwise. The Philippine ballet companies clearly grasp this concept. While their visions differ, they share a common mission: to connect, to create, and to make ballet accessible to everyone.

With this mindset, growth is inevitable. I can't wait to let the rest of the season unfold.

 Bravo, Filipino.

IDD 2025 Bawat Hakbang ay Pag-ibig: A Folk Dance Gala

Day Two of International Dance day performed at the Samsung Performing Arts theatre last April 24, 2025, featured the folk dance community. Not to be melodramatic but it nearly brought me to tears. I have rarely seen full productions dedicated entirely to folk dance, as lengthy shows are few and far between. Witnessing folk dance celebrated in such a magnificent way—and being reassured as a Filipino that the passion for our heritage and culture is still vibrant—was deeply touching. The show offered me a new perspective on folk dance. Wonderfully curated, it demonstrated that there is so much more to explore beyond the well-known dances we occasionally see.

The performances by various groups—Bayanihan, Kalilayan Folkloric Group of Catanauan Quezon, CEU Folk Dance Troupe, UE Silangan Dance Troupe, Sindaw Philippines Performing Arts Guild, UST Salinggawi Dance Troupe, RTU Kultura Rizal Dance Troupe, PNU Kislap Sining Dance Troupe, Kaloob Philippine Music and Dance Ministry, and Ramon Obusan Folkloric Group—painted a vivid picture of diversity and inclusivity. One group featured a voiceover that said, *"Bawat hakbang ay pag-ibig. Galing at galaw,"* which perfectly encapsulated what I witnessed. The performance showcased dancers of all ages, representing many communities that are not always in the limelight. It also included poetry, singing, chanting, and, of course, pulsating live music.

The groups brought their A-game in aesthetics, presenting glamorous costumes, intricate sets, and props that resembled treasures from exotic castles. These elements truly elevated the performances. The classics performed were revitalized and modified for new audiences.

Particularly memorable was UST Salinggawi Dance Troupe's "Kanayunan," which featured *Sayaw sa Bangko* (Dancing on Benches) and the famous *Tinikling*, among others. They took it to another level; for instance, in *Tinikling*, it is challenging enough to dance between the *kawayan* (bamboos) in perfect rhythm, but their version had numerous pairs dancing while the bamboos changed formation—moving clockwise as a group, then counterclockwise. It was thrilling to see them execute these tricks with confidence.

In *Sayaw sa Bangko*, they performed the usual tricks with full commitment to storytelling while incorporating acrobatics like straddle splits and cartwheels using the benches, which was highly entertaining. Through their very overt acting and creative nuances, UST celebrated the playfulness of the Filipino spirit.

A standout moment was the CEU Folk Dance Troupe's *Banga* dance, or water jar dance. Typically, the performers balance five to six jars of varying sizes on their heads—and they did just that. However, to my surprise, two dancers showcased their skills with ten to twelve jars, adding remarkable complexity to the performance. It was technically very difficult, yet done with the ease, poise, and elegance of the Filipino.

The UE Silangan Dance Group took a classic approach, and when their Maria Clara Suite dancers took the stage, the audience gasped. The costumes were beautiful and intricately designed, complementing the dancers' movements. The girls executed generous sweeps, while the boys showcased strong, polished stances, honoring Cora Inigo's original choreography as restaged by Gener Caringal. The classic became a standout in the sea of unconventional pieces.

Bayanihan performed a choreography by Ferdinand Jose with the echoes of the *Agung*. In a duet, the skill level of the dancers was on full display. The male lead performed a lunge and kneel combination, circling the woman. If that weren't impressive enough, soloist Ina Feleo also performed the same combination with grace and strength. The group also performed balancing acts using their musical instruments.

Throughout the show, there were so many balancing acts I had never seen before—balancing on gongs, plates, benches, stools. There were new depictions of Filipino life like the fishing community, playful theatrics, and warriors ready to fight.

The folk dance gala was like opening a book of untold stories about the Filipino. Truly, there is so much more to unravel and learn. Day Two was a powerful reminder that while folk dance may sit quietly in the back of some minds, it continues to evolve. Snippets of our culture remain encrusted in our folk dances—readily available for future generations.

IDD Autobiography : Traces of You in Movement (As published in Runthru Magazine)

 Ayala Land's Circuit Makati is focused on shaping its future as a cultural hub. Its goal is to be recognized not just for its venues, but its commitment to educating, inspiring, and engaging audiences. They aim to be a catalyst for community growth, producing high-caliber events that are often inaccessible to the arts community, such as this edition of the International Dance Day Festival. This five-day festival, featuring a variety of dance genres, is a significant gift to the dance community, celebrating the art form in solidarity with global celebrations. But this year, I believe, they really hit the target. Opening night was a sterling example that Makati is a key player in the arts. Their creative choices clearly show that they have an exceptional grasp of what the community needs and how to propel them to greatness.

Even before the main event began, there was a palpable sense that this festival would be different. Showing unadulterated tenacity, dancers in suits disrupted the mundane conversations in the lobby with their exploratory movement on the escalators, responding to the flow of passersby. They gathered a small crowd, drawing attention to the evening's purpose: to celebrate dance. This performance heightened the anticipation within the dance community for the evening's highlight, Company Wayne McGregor's "Autobiography V105."

Wayne McGregor is a knighted artist in the UK who gained prominence in Europe through his mastery across various platforms, including theatre, film, commercials, and diverse dance genres. Fun fact: he contributed to the famous Harry Potter films. However, it is his acclaimed works as resident choreographer for the Royal Ballet and collaborations with the American Ballet Theatre and Bolshoi Ballet that firmly established him as a forward-thinking creative in dance. The New York Times has characterized him as "an adventuresome experimenter with a restless mind, intent on pushing his disparate audience, his collaborators, and himself." Unfortunately, his brilliance has not been widely showcased in Asia, except for his recent work "Deepstaria," which was presented in Hong Kong. Therefore, it is a significant milestone for his work to reach Filipino audiences, offering a rare opportunity to experience such high-caliber performances.

Autobiography V105: Life Without Sequence

Autobiography" is a profound exploration of McGregor's artistry, encompassing the key elements that have led to his success as a celebrated choreographer. It was the perfect choice to open the celebratory festival because it showed how powerful dance could be. It was substance on a platter, combining science of the past, science of the present, art, and humanity. The theme of autobiography reflects the essence of human nature, encompassing its highs and lows—capturing the emotions that flow through our lives: pain, joy, and everything in between. A common theme in dance, however, the process of performing it is what made the difference. It is performed differently each time.. This piece premiered in 2017, a time when people were focused on deciphering algorithms and big ideas. Dance sketches based on McGregor's genetic code were created, 23 sections, each one tied to a chromosome. For every performance, the algorithm would dictate which dances would be performed and in what sequence, akin to a roulette of combinations where the dancer's fate depended on chance. Only the beginning and the end remained constant.  In its 2025 version, the influence of AI also shapes what is performed on stage, making it an updated scientific yet artistic endeavor. The concept is significant and almost philosophical, reminding us that life is indeed abstract and has no sequence. The impact of the performance was even greater.

The audience was silenced as the curtains rose to a blank stage without wings. A solitary dancer moved, creating ripples with his body. Watching him almost felt like I was navigating his thoughts with him. Devoid of pretentious clichés often found in contemporary dance, he displayed pristine technique and control. As the company's eight other members introduced themselves in their sections, this would remain true. They were all fully immersed in the movement with confident strides, sustained balances, and most importantly, beautiful lines. It says a lot about the company's discipline in staging an abstract show. Confidence in technique allows the dancer to be present in the moment, fully engaged with the physical and emotional task. Company McGregor was indeed a class act.

The performance featured several vignettes, each with emotional resonance. The physicality of the pieces was hyper-articulate, necessitating a strong command of the combinations, as the transitions were wonderfully frenetic. There was no storyline, but you could see melancholic textures and a semblance of pivotal relationships in the pas de deux. While titled Autobiography, the performance felt less like McGregor’s alone and more like a collective diary of human experience. It carved out thoughts in my mind about my own existence—a disruption that, I believe, only true art can provoke.Did I doze off during some sections? Yes. But Autobiography’s beauty lies in its ability to draw you back in, again and again, with unexpected moments of brilliance.

Building Worlds from Light and Shadow 

Beyond the engaging choreography was McGregor’s hand in transforming blank spaces. He is an architect of sorts, creating environments for the dancers to exist, stories to flourish, and emotions to intensify.Working with lighting designer Lucy Carter, they built entire worlds using nothing but light..They used light to create the illusion of the ceiling caving in toward the dancers. At times, beams of light and projections created the illusion of ceilings and planes;, they split the stage into separate rooms, putting focus on different  narratives all at the same time.While I have seen this technique employed by other creatives, the light show is fully choreographed, almost embracing the dancers at all times. At times, they manufactured an effect where darkness seemed to swallow the dancer until they disappeared completely, achieving a strikingly cinematic result. Another memorable segment involved bright flashes of light that blinded the audience, evoking small epiphanies—those life-changing moments that leave you feeling nauseous or dizzy, reminiscent of cinematic car crash flashbacks. It was simple yet genius in its execution.

Art That Provokes

I reckon that this abstract piece is an acquired taste. Not everyone will love it. So I applaud Ayala Land's Circuit Makati for choosing a piece this intricate for the local audiences. It’s about time that people are served something as intricate and intellectually stimulating as this.Even in its minimalist version (earlier iterations included physical sets as part of the choreography), Autobiography V105 remains a conversation piece—one that leaves lasting ripples in the mind.

As Chris Mohani said in his opening speech, "Dance connects us all, transcending boundaries and uniting us through shared expression." The vibrant post-show discussions proved his words true. People are still talking, still debating, still feeling. And that, truly, is the mark of art well served.

APRIL 23, 2025

IDD GALA

SAMSUNG PERFORMING ARTS THEATRE