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 method 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.