Rewriting the Classics: Lisa Macuja-Elizalde’s Princess Trilogy in Motion

 

Lisa Macuja-Elizalde wears multiple hats at her company, Ballet Manila. Just like in her younger years, she continues to show the same brazen determination—harnessing her skills in choreography, producing one ballet after another, and refining them constantly. One of her proudest achievements is her Princess Trilogy, a collection of her own versions of ballet classics. She premiered Cinderella in 2016, Snow White in 2017, and Sleeping Beauty in 2020.

There is a recognizable formula to Elizalde’s trilogy: she alters the storytelling, infuses comedic elements, incorporates contemporary trends, and remains open to more commercially accessible music and spectacle. This approach, clearly evident across Cinderella, Snow White, and Sleeping Beauty, shows her conscious effort to create something for every audience segment. As someone whose taste leans toward the classical purist end of the spectrum, I admit—some of the early premieres initially left me more startled than satisfied.

Elizalde, every bit a dancer, treats her choreographic skill with the same approach: practice makes perfect. These creations have been performed constantly, with refinements evident in each restaging, and over time, I found myself growing to love these ballets. When Sleeping Beauty premiered in 2020, it was the easiest to digest among the trilogy, as there were no musical permutations or commercial insertions; what differed was mainly the approach to the story. Because of that, my appreciation for this particular premiere was greater, and I looked forward to seeing how Sleeping Beauty, Ballet Manila’s first offering of the season, was going to evolve.

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Ballet Manila compresses the three-hour ballet into something more concise. Elizalde creates something of a Marvel Cinematic Universe moment—bringing her Cinderella and Snow White ballets into Sleeping Beauty like a crossover event, with this one clearly positioned as the season finale. Princess Aurora’s childhood includes her destined prince, Prince Désiré, as well as Prince Florian and Prince Charming. In this version, Maleficent is not invited because the golden plates can only accommodate the seven good fairies (the original only had six). Hurt, she curses the baby, declaring that Aurora will die from a prick of a spindle. The good fairies and the Lilac Fairy intervene so that the curse leads instead to a deep slumber.

At Aurora’s sixteenth birthday, a romance is already brewing with her prince. Unlike the classic tale, after she is pricked by the spindle, Aurora does not sleep for a hundred years; instead, she is captured by Maleficent. Later, Prince Désiré, with the help of his royal friends, rescues her.

This 2026 libretto remains faithful to its premiere, anchored in a well-brewed love story that culminates in a brave rescue. And in essence, I love that about this ballet.  But I realized  I really do miss one of the core elements of the Marius Petipa version—the moment where the fairies bestow their gifts. Candide offering purity and truth, Coulante–Fleur de farine offering charm and beauty, Miettes-qui-tombent offering generosity, Canary offering the gift of song, Violente offering passion, and the Lilac Fairy as protector.

There’s a sense of whimsy in that entire sequence—connecting the fairy world with the human world, and in essence, building up the princess we later see in her adult form: a combination of purity, beauty, generosity, song, and passion. In this version, the fairies are grouped into duets and trios, making their gifts feel more generic. The texture, the nuance—that layering of character—is diminished. Thankfully, because the fairies were so eloquent in their dancing, I still loved the prologue. It allowed me to move past the absence of the Happiness and Passion variations.

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A first look creates first impressions—based on preference and instinct. So this second look allowed me to see the ballet better, this time for its dancing. Knowing what had been altered made me more emotionally and mentally ready to receive it on those terms.

While there were no visible changes in staging, costumes, or dramaturgy, the refinement came through in the dancing. I watched the closing show and appreciated the cleanliness of the production. Closing shows are always tricky—fatigue sets in, and there’s a temptation for complacency as the adrenaline from opening night thins. It’s worth noting that the company was coming off a full tour of Ibong Adarna in the provinces. Yet the dancers' maturity kicked in—they performed with skill and uncompromised collective artistry. It felt like opening-night energy all over again. This ballet is designed to showcase a wealth of soloists, giving even the King and Queen maximum airtime through solos and pas de deuxs. It effectively positioned Ballet Manila as a strong company.

When you deal with ballets that have been interpreted a million times over as a colorful spectacle, you have to ensure a certain emotive coloring in the execution of the characters, simply because everyone knows them so well. The burden falls even heavier on the leads. Principal dancer Shaira Comeros, who played Sleeping Beauty, seemed completely unperturbed by that burden. She entered every scene, fully embodying the role of the princess. What is distinct about Comeros is her melodic quality of movement. She doesn’t just respond to the music—she is the music, a quality that comes only with years of experience. Her tiny chinky  eyes glow and react to her surroundings with natural spontaneity, making her instantly relatable.

Prince Désiré was danced by David Jos Andes, one of Ballet Manila’s recently promoted soloists. And what a leap it was for him to partner someone as seasoned as Comeros. I believe in his potential—his individual performance was commendable—but as a partner, there is much room for improvement. There was an evident nonchalance in his approach, as if he didn’t quite see Comeros as special. No romantic gazes, no smiles for the princess. With Comeros always ready and looking at him lovingly, the disconnect was clear.

Both dancers showed technique, albeit with some forgivable endings.  But in ballet, the boy is always responsible for the girl, no excuses. I look forward to seeing more confidence from Andes in partnering. Comeros expertly saved herself through every partnered pirouette, every hip turn, every finger turn.

Abigail Oliveiro-Sumaylo, in the role of the Lilac Fairy, was her usual expressive self, showing off her long limbs and graceful articulation.  Stephanie Santiago was evil canievel as Maleficent, convincingly feisty in technique and acting. Pia Dames played Cinderella, and Shamira Drapete played Snow White, ably partnered by their respective princes, Noah Esplana and Joshua Enciso. While I adore Dames and Drapete with a passion, I truly believe these two should never be paired together. The height difference was glaring, and the mismatch in artistry was even more striking—it simply wasn’t complementary. Dames is all expression, her tiny frame bursting with energy and emotion. Drapete, with her long, elegant lines, moves beautifully, but with a more muted, restrained approach. My unsolicited opinion? She would pair better with Andes.

Ballet Manila Project Futures Scholars Tyrone Elanga, Andrei Umali, and Paul Requiz played the young princes—and proved that no role is ever too small in the theatre. Cuteness overload! Their simple, clean execution of the steps radiated confidence, thrilling both me and the audience.

In summary, while this purist may have missed a few things that showcase Marius Petipa’s genius, everything was beautiful at the ballet. While some would say there were no changes made from its premiere, this author sees refinement in the smallest steps forward.

In the musical A Chorus Line, there’s a song that goes: “We did what we had to do, won’t forget, can’t regret, what I did for love.” Ballet Manila’s Sleeping Beauty is the result of countless hours of hard work, sweat, and tears, telling the story of a technically demanding ballet. And while its content may remain familiar, its dancing has clearly evolved—more polished, more assured. It is a living, breathing labor of love—and for a ballet lover like me, that is everything.

Ballet Manila's Prima Season,Explained

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Ballet Manila’s 2026 season is coined thePrima Season for good reason. Artistic Director Lisa Macuja-Elizalde has chosen to share with audiences her carefully curated picks—works glazed with Russian influence, shaped by her own artistic roots, while powerfully showcasing the depth and excellence of Filipino talent on stage. She notes that it has been 40 years since her return to the Philippines after her stint with the Kirov Ballet in Russia, and this milestone season reflects that connection—filtered through a company she has built and nurtured at home. 

Macuja- Elizalde declared that while her dancers have multiple  chances to train and perform contemporary,  the focus of this season will be the classics. The season opens with the colorful and technically demanding Sleeping Beauty, presented with a live orchestra from March 13 to 16, 2026. The Manila Symphony Orchestra will fill the theater with Tchaikovsky’s lush score under the baton of Russian Maestro Alexander Vikulov. An experienced ballet conductor truly makes a difference—one who understands dancers’ movement can anticipate and adapt to their needs. Under such leadership, Ballet Manila’s Filipino dancers are given the space to move with clarity and confidence. 

The dancers are currently coached by Ballet Masters Natalia Raldugina and Alexander Kurkov (both former Mariinsky artists) steeped in the Vaganova tradition from Russia.  With Sleeping Beauty being such a technically packed ballet,   I can’t wait to see how the Russian coaching will make an impact on the company’s performance.  Lisa Macuja-Elizalde’s version also marks the closing piece of her Princess Trilogy, making it a culmination of years of artistic work and an ideal showcase for the company, with roles aplenty to be shared across the soloists .

The momentum continues with Paquita, a world premiere of Ballet Manila’s adaptation of the full-length ballet, running from June 19 to 21, 2026 . While the divertissement version of Paquita is a mainstay in the Philippine ballet scene, it has never been staged as a full-length work by any local company. Classical in lineage and demanding in execution, this production serves as the season’s innovation piece.

The Prima Season culminates with La Bayadère, last performed by Ballet Manila in 2013 as part of Lisa Macuja-Elizalde’s Swan Song Series. Revisiting this ballet promises to be a thrill for both dancers and audiences alike. Deepening the season’s Russian connection, Renata Shakirova and Kimin Kim, principals from the Mariinsky Ballet, will join the company as international guest artists—sharing the stage in a meaningful exchange of tradition and artistry.

Even before the Prima Season officially begins, Ballet Manila sets the tone with Ballet Ballads, now in its 31st year. Ballet Ballads has always been a constant show of the Company. They have collaborated with musical artists of different genres. This edition features the iconic ’90s band The Dawn, in a production titled The Dawn of Ballet. Resident choreographers Martin Lawrence and Gerardo Francisco will interpret eight songs by the band, including their newest release, “Saan Ka Pupunta.” While this is a first for the band, it continues Ballet Manila’s ongoing mission to bridge ballet and the people—meeting audiences where they are while expanding how ballet is experienced. The limited run will be on February 20 and 21,2026 

Ballet Manila’s calendar is filled to the brim, but the season extends beyond the main stage. A local and international touring season is already in sight, with Ibong Adarna traveling to Dumaguete and Malaysia. 

It is a full year of beautiful promises, and one hopes May Ballet Manila trul embody its season name—Prima. Glazed with Russian influence and carried by Filipino artistry, may the works they set forward aim to be as important as their history and as colorful as the journey that shaped them. If you are just as excited as I am, do check Ballet Manila’s Facebook page for more details.

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 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.