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.