A Season of Gratitude for ARDP

 

Alice Reyes Dance Philippines (ARDP) opened its 2025 season with Pagdiriwang (Celebration) in April. On August 1, 2025, they followed this with a pre-opening show at the Rockwell Proscenium Theatre featuring Pasasalamat (Thanksgiving). Reflecting on both shows, I realized that this company has made remarkable strides.

In just three years, ARDP has successfully regained ownership of its previous repertoire from Ballet Philippines by performing these pieces under the new company. It now boasts a diverse collection that includes some of the most significant works in dance history, featuring pieces from renowned choreographers such as National Artist Agnes Locsin, Edna Vida, Denisa Reyes, Gener Caringal and  Bam Damian to name a few. Complementing this treasure trove of classics is a fresh array of new creations from both local and international choreographers. In such a short time, this newcomer in the dance world—led by veterans—now holds a repertoire that represents decades of history. And now, they have opened the doors for creating more new work. Indeed, for ARDP, there is much to celebrate and be thankful for. 

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Filipino Narratives on Stage

Mga Kwento ni Juan Tamad by Sorilla offered a refreshing reimagining of the popular Filipino tale. In an effort to capture the essence of Filipino culture, Sorilla included characters from various folklores such as Gamu-Gamu at Lampara, Pagong at Kuneho, and Buwaya at Paboreal. With original music composed by Toto Sorioso and sets designed by Loy Arcenas, he embraced a theatrical approach that encouraged the dancers to step outside their comfort zones. All the elements of children’s theatre were present: interaction, engaging dialogue, overt characterization, and a heroine.

Ricmar Bayoneta as Juan Tamad 

This full-length production, created specifically for students in Grades 1 to 10, brought colorful and imposing characters to life. Despite being well above that age bracket, I found myself giggling at the wit, occasional sarcasm, and physical comedy. I honestly loved the”mababaw” and delightfully corny moments. The company as a whole was committed to telling the story, and together they animated Sorilla’s world.

Ricmar Bayoneta as Juan Tamad was ultra-confident in his portrayal, never missing a beat and always flashing a charming smile at his Maria Masipag, danced by the blooming talent  Karla Santos. Here, Juan is cast as the ultimate underdog—the laziest lad one could meet—who, upon finding the love of his life, seizes the chance to save her family and recover their missing golden coconut. Alongside Matsing(monkey), played by Dan Dayo, they encounter a variety of animals. John Ababon was hilarious as the slow Pagong, while Monica Gana played the self-absorbed Kuneho. She could have easily been given a phone to complete the image of today’s self-absorbed youth, embodying the influencer and the mean popular kid in town. Sprightly and bright, she executed saut de chat after saut de chat,  and grand jetés after grand  jete  with both athleticism and charm.

John Ababon as Pagong 

Monica Gana as Kuneho 

Buwaya was portrayed by Ejay Arisola, whose menacing presence was matched by the scheming Francia Alejandro as the jewel-obsessed Paboreal. Their strong characterizations, paired with Sorilla’s choreography, created a simple but thoroughly enjoyable ballet. This was the first time I saw Sorilla take on something lighthearted, as he is typically a cerebral artist. I’m glad he understood the assignment and delivered with success—much to the audience’s delight.

Monica Gana also created a Filipinana-theme romantic duet danced on flats, entitled Para kay Gabriela. This piece offered a glimpse into the love story of Gabriela( the first Filipina General )and Diego. Beautiful in its simplicity, the duet featured Gabriela, played by Krislynne Buri, whose expressive dancing flowed seamlessly with the choreography. She was dutifully partnered by Renzen Arboleda as Diego. It was frankly too short for me, but it shows promise, a great step forward.

Krislyn Burri and Renzen Arboleda

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Works in Progress

Pasasalamat marked the third performance of Bam Damian’s piece C’est la Cie. Unsurprisingly, the program notes listed its world premiere as August 1, 2025. This powerful work has been in constant evolution.

In its initial showing last April, I was captivated by its ability to silence the people. At the end of the piece, I felt a bit conflicted about the piece. With the sea of white costumes and a set without wings, it inevitably evoked memories of Damian’s most famous piece in Manila, After Whom. With some of Damian’s signature moves—such as sliding on pointe and running into lifts—it was easy to understand why some might compare the two. However, when I saw it again at the International Dance Day Ballet Gala, I was struck by how much it had evolved. Movements were sharper, the dancers more fearless, and even the costumes were simplified: the men trading asymmetrical draping for plain white skirts. This latest version left me in awe. It had a new essence altogether. Damian’s refinements were genius. 

The piece begins with a female solo performed by Monica Gana against a backdrop of steel architectural installation. There is no hesitation in her approach; from the first note, she defies gravity with generous leaps and draws in the audience with a radiant smile, as if to declare, “This is our time now—to express, to impress, to captivate.”

Her solo is followed by Renzen Arboleda’s quick, skillful sequence brimming with agility and tricks. Soon, the entire company joins in, plunging into the black abyss of the stage. Damian deceives the audience with a few seconds of classical port de bras before he takes us into deconstructed ballet—drops, swoops, hip swings, flexed feet, and off-balance kicks. It’s a breathtaking showcase of speed, power, and artistic intensity. Watching it, I recognized the company’s respect for Damian, allowing him the freedom to keep shaping the work until he feels it is complete. If my pulse were the measure of success, then this piece was a triumph. I lost my voice screaming bravo to express my delight. 

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Honoring Legacy

The second half of the gala featured works by Norman Walker, a celebrated dance educator and choreographer with over 300 creations, six of which were premiered in the Philippines with the help of Alice Reyes: Vivaldi Concerto, Seasons of Flight, Songs, Drones, and Refrains of Death, Summer’s End, Songs of the Wayfarer, and Seraphic Fire—the last premiering in Pasasalamat. With Walker and Reyes’ artistic friendship spanning five decades, there was indeed much to be grateful for.

Also presented was Songs of the Wayfarer, which has become a rite of passage for each generation of Alice Reyes dancers. Originally performed by premier danseur Nonoy Froilan, the role has since been passed down to ARDP Artistic Director Ronelson Yadao and current principal dancer Erl Arisola. Over the years, the work has deepened in resonance. Arisola, who embodies its storytelling with conviction, has greatly benefited from multiple opportunities to work with Walker. He first encountered him six years ago, when the piece was mounted for Yadao, and all participants were required to join Walker’s master classes. This second chance to study with the choreographer gave him an undeniable edge. His performance was moving, articulating the pain of unrequited love with sincerity and nuance.

Seraphic Fire, Walker’s latest addition to his long list of works at age 91, was also performed. While I admired the sophistication of its movement and clarity of form, it was not my cup of tea. The energy and technique were undeniable, yet somehow I was completely underwhelmed. Some passages carried the nostalgia of classic modern dance, with tombelevés on one leg, swinging arms, and swirling formations with “held” port de bras. At the end of the piece, I really could not be transported to the mystical heavens.  There’s a possibility this statement will be bashed by Walker’s cult following, but I really could not see the heavenly angels in the piece.  Still, the piece reflected Walker’s enduring artistry, and it earned my respect even if it did not capture my imagination fully.

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A Dance of Gratitude

In the end, Pasasalamat was not just a gala—it was a meaningful experience. For some, it may have been simply a fine evening of dance. But for me, it was a love letter of sorts: a salute to the friendships and collaborations that built the past, a thank-you to the audiences who have remained steadfast, and a bow to the young dancer-choreographers who now carry the flame. Gratitude filled the stage—for what has been, for what is, and for the beautiful future yet to unfold. I could very well be wrong, reading more into a simple program. But if that is the message for this season, then I can’t wait to see more.

Ballet Manila is on a Generosity Streak

 

Fresh from their performance from Asian Grand Prix Gala, Renata Shakirova and Kimin Kimin are ready to show more of their  technical and artistic mettle. After sharing their guest artists to inspire the youth,  Ballet Manila will now showcase the pair in the main event, their season show, Don Quixote. 

 Performing a role repeatedly can either deepen a dancer’s mastery or dull their connection to the material. For international ballet stars Renata Shakirova and Kimin Kim, it’s a challenge they meet with precision, passion, and a relentless pursuit of nuance.

Set to portray Kitri and Basilio in Don Quixote from August 22 to 24 at the Aliw Theater—the final offering of Ballet Manila’s Pearl Year season—Renata and Kimin return to roles they’ve danced countless times, but never the same way twice.

                                  

Both dancers are part of the world renowned Mariinsky Ballet where they have attained principal dancer status – a feat that signifies their years of experience and expertise in ballet, performing with technical precision and exceptional artistry. 

“I think that the role of Kitri is my most performed role in the classical ballet repertoire,” admits Renata. Yet despite this, she stresses that the key to keeping the character fresh is to forget how many times she’s performed it.

She adds, “I have to prepare for the performance like it’s my first time so that we are always paying attention and ready. For example, looking at each other as partners—it can become mechanical. But it is our responsibility to always look into the details and discover something new with every rehearsal or performance.”

Renata also acknowledges her partner Kimin’s ability to see the smallest nuances: “He has this trait of always looking at and paying attention to even the smallest of details, and I think that every performance consists of these small details.”

Kimin, a multi-award-winning principal dancer trained at the Mariinsky Theater, describes Basilio as “the color red that shimmers”—a bright, shining character that is thrilling to portray.

Even with his unique perspective on the role, he emphasizes the importance of maintaining the level of excellence instilled through his Mariinsky training: “I think schooling is still the most important. Without proper schooling, you cannot really show anything. There are the fouettés and the male jumps that show technique in the pas de deux. In the first act, you can also show a lot of acting that I learned from my teachers. I try to give the audience my inner self as well as the technique that is expected of me.”

Having danced with Renata previously in the same roles, Kimin still finds excitement in discovering something new about his partner. “It is always a pleasure to work with Renata. When we are dancing the same ballet a hundred times, there are also a hundred different versions of her dancing.”

He continues, “She is very emotional, and onstage she can show everything differently. As her partner, it is always so nice—I watch her with surprise, so I am never bored with her performance.”

Now portraying Kitri and Basilio with Ballet Manila on a Philippine stage, both dancers are eager to show audiences what they’ve been preparing so diligently.

For Renata, who had a wonderful experience playing Giselle with Ballet Manila last year, her return as Kitri is most welcome. “The audience was so receptive and hospitable, and now that I am here with a different performance, I am so excited to show a different side of me. Giselle was a very dramatic and heavy ballet, and Don Quixote is very happy—with different requirements of coordination and style. As an artist, I want to show this other side of me.”

Meanwhile, for Kimin—performing in Manila for the first time—he hopes the audience will carry the emotions of the performance long after the curtain falls: “I always want the audience to feel a bright emotion after a performance—not only to clap and shout ‘bravo’ after the show, but to bring home that memory of Renata and Kimin. I think that can only happen if the performer gives the audience a message and a feeling. It is so important to me that the audience will like our performance.”

With the caliber and artistry of Renata and Kimin, Ballet Manila’s CEO and artistic director Lisa Macuja Elizalde exclaims, “I think it’s only fitting to close out our Pearl Year performance season with Renata and Kimin leading Ballet Manila’s Don Quixote. With their performance, we will once again reinforce our pursuit of bringing world-class performances to our audiences.”

Don’t miss the stellar performance from Renata Shakirova and Kimin Kim as they portray the well-loved characters Kitri and Basilio in Ballet Manila’s Don Quixote on August 22 at 8 PM, and August 23 and 24 at 5 PM.

All performances will be staged at Aliw Theater, Pasay City. For tickets, visit www.ticketworld.com.ph. To learn more about Ballet Manila and its shows, visit www.balletmanila.com.ph.

#pressrelease

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.

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.