Agnes Locsin in a Different Light

In the heart of the upscale Insular Village 1 in Lanang, Davao City, an exhibit of national significance was unveiled on September 26, 2024. The Davao Museum of History and Ethnography launched "Dance is My Life," a tribute to National Artist for Dance Agnes Locsin.

The exhibit is the brainchild and was curated by Pam and Igy Castrillo, whose exhibitions have been featured at the Davao Museum of History and Ethnography, Museo Dabawenyo, and Ateneo de Davao University. Upon approval of the Museum’s Executive Director, Sylvia Lorenzana, Pam and Igy recruited Biag Gaongen, dance archivist, dancer, and current Associate Artistic Director of Locsin Dance Workshop to assist them in this endeavor.  Believing that Locsin’s story has the power to educate, move, and inspire people, the team mounted this exhibit with vigor, passion, and commitment.

I had the privilege of seeing this exhibit last November 11, 2024 toured by no other than National Artist Agnes Locsin herself.

Photo by Lucas Jacinto 

Spoiler Alert

                                   

The exhibit begins with a retrospective timeline that showcases key moments in Locsin’s life in dance. The first thing that catches your attention is a huge photo of two-and-a-half-year-old Agnes Locsin  (dressed in baby ballet attire) striking a pose. The charming picture was taken by her  father Jose S. Locsin who was a photographer of no mean talent. Locsin was largely trained in dance by her mother Car

The exhibit then moves on to two of the most compelling artifacts in the exhibit. You see a framed picture of Agnes’ first ever award in the arts - a Best Dancer Ribbon Medal that Locsin received when she was in Kindergarten.  Beside it is Locsin's National Artist Award. 

You see the actual ribbon - in mint condition - displayed a few steps away, an affirmation of Agnes’ mother’s deep pride and joy in her daughter.  This author could not help but tear up because clearly this section of the exhibit credits Locsin’s mother for instilling in her the joy of dancing, the need to celebrate the Filipino, and the power to educate others.

               

Locsin's retrospective features a few photos of herself.  A large image of her performing a tour jeté showcases her youth and agility. While Locsin is widely recognized as a prolific choreographer, the photo reminds us that she had many awe-inspiring moments on stage as a dancer. This particular photograph was also taken by her father, to whom she attributes her compositional skills and keen eye for aesthetics. 

                                       

Choreographic Pursuits

The exhibit uses technology to provide the audience with a glimpse of Locsin's masterpieces on televisions showing curated content on USB thumb drives, allowing navigation of some of her important works. 

Locsin rose to prominence by creating pieces that embody manifestations of Filipino identity and celebrate indigenous cultures, practices, and beliefs. She developed her own vocabulary of movement, establishing herself as a maverick in the field. Her pieces soon became social commentaries and call to action within the community. The videos clearly show that her genius has a range that is hard to rival. 

Selfless Declarations of Love

The imagery of her dancers dominates the exhibit. One striking image is that of Locsin teaching dancer and nephew Sonny Locsin how to elongate his body. I had the pleasure of hearing Agnes’ personal stories about her dancers. She talked about how her dancers - whom she called her “babies” - would influence her work or glorify her pieces. Her descriptions were profoundly moving. The exhibit is clearly also Locsin’s tribute to her dancers.

Exemplary Artworks

The exhibit displays artworks that showcase Locsin’s dance pieces. They include BenCab’s invaluable Sabel Series and Monette Pangan’s unique and ingenious sculptures. 

But for this author, the most important artworks are sketches done by Locsin herself. These are impressive, to say the least; her strokes are as detailed as her choreography with a strong vibe pretty much like her character. Locsin’s artwork is clearly another bold and creative attempt to explore art beyond her comfort zone. 

                                         

The exhibit closes with a window display of the Locsin Dance Workshop showing items from the past and the present. Locsin has now come full circle. She started in Locsin Dance Workshop as a dancer and choreographer, and she has returned to the same spot to ensure that the art continues in Davao. 

A curated exhibit on a National Artist often suggests that the viewer will encounter an academic review of historical milestones. This exhibit certainly fulfills that expectation; yet, beyond this scholarly requirement, what unfolds before you is Locsin’s very heart laid bare.

Prepared with such sensitivity, the exhibit portrays the National Artist in a different light.  This exhibit is a picture of her selfless disregard for her accomplishments. Instead, in full display is her gratitude for her early influences, her collaborators, projects close to her heart, and her hidden talents. 

                                                      

Photo by Lucas Jacinto 

Agnes Locsin is a teacher, a dancer, a storyteller, a trailblazer, and a Filipino. This exhibit is a true representation of her life - multifaceted, colorful, productive,e and inspiring.  

For the people in the area, this opportunity to get to know the pride of Davao should not be missed. There is too much to learn and too much to be proud of. People from all over should flock to Davao because this is a fleeting moment to be optimized. Understand Locsin and you will understand what being a true Filipino is all about.

REVIEW: Third time’s a charm with ‘Encantada’

 

Republished article ... Original release can be seen in this link THEATERFANSMANILA

Alice Reyes Dance Philippines opened its season with National Artist Agnes Locsin’s  neo-ethnic ballet “Encantada”.  Starting strong, their first run at the Samsung theater elicited long-running curtain calls, standing ovations, and heartfelt declarations of acceptance. But nobody was prepared for the display of love on opening night at the Metropolitan Theater last April 21, 2023.  The phrase “and the crowd went wild” is usually reserved for sports arenas but  this old ballet from the 1990s  made it happen in the iconic theater. 

Encantada was the brainchild of three radical artists. Al Santos wrote the libretto, Joey Ayala the music and finally, it was directed and choreographed by Agnes Locsin. At the time of its premiere everything that they did was unorthodox. The theme was about taboos, the dance genre was contemporary and the music was tribal ( which was not your go-to music for ballets). The product was fresh and the audience embraced it.  In 2011, it was restaged by Ballet Philippines and it won numerous awards. But a lot has happened since then. The production value of shows has been inventive, contemporary dance is now at the forefront and the music industry has opened up. I wondered if the ballet could remain as potent as it was when it was created. Opening Night proved that this ballet was indeed a timeless classic. 

Purposeful Libretto

The curtains opened revealing Salvador Bernal’s majestic multilevel mountain glistening under the light of John Batalla. The moment of stillness would prepare the audience for a powerhouse performance of music, dance, and theatrics. With her feet grounded and connected to Bernal's mountain, Encantada played by Georgette Sanchez- Vargas descended from the top of the mountains and roused up the kababaihan. It was a soothing warm-up for the telling of a story laced with multiple social critiques on religious hypocrisy, the power divide in society, the violence against women, the oppressed, and the environment. 

The story has two different sectors that live by faith. The pagans of the mountains were the Kababihans who relied on their mystical Encantada and the devout Christians who lived in civilization. Through the narrative of the Estranghero who was a devout Christian, the abuse of  people and environment by the powerful Frailes would be told. In each major scene, Locsin was able to share a strong message.  For instance, in the story, the conflict intensified when the Christian icon of the Virgin Mary was turned over to the pagans who undressed it and worshiped them as their god.   This depicts that both sectors believed in the same higher power packaged differently. In the end, it is how you live your life in faith that is the true battle. 

In the story, the estranghero was saved by the Kababaihans from pain inflicted by his own sector. While he remained a devout  Christian he recognized the kindness of pagans and even lived with them in their sanctuary. The message is loud and clear different religions can coexist. 

The role of the estranghero was also quite powerful as it showed that the true devout could easily be persecuted by the powerful. The estranghero was pursued by the Frailes and the Guardia Sibil to his death. Consistent with our history as a nation, many of our heroes who have stood up for what they believed was right suffered. They were always the catalyst of change, the heroes that would be remembered.  

In the climactic battle between the Guardia Sibil and the Kababaihans,  they destroyed the environment and the spirit of the people. This is a direct call out not to bite the hand that feeds you.   There are many more poetic declarations in the scenes that the audience could pick up. Collectively the nuances have made the ballet a powerful social commentary. 

Locsin Choreography 

The pulsating music of Joey Ayala and Bagong Lumad evoked a vibe. It was ingenious to have the musicians hidden in the mountain. It seemed to breathe life into the mountain. In too many ballets, the singers take away the attention from the dancers but in this performance, the voices reverberated from the stage in the most glorious way. I am certain the dancers being so close to the live music could feed off the energy of the singers. Locsin’s rhythmic steps like stomping furiously to the beat of the music intensified the scenes bringing on  the 

Playing off the elemental sound Locsin’s choreography was a delicate display of nature. Memorable is the scene where the kababaihan heals the estranghero through the help of the Babaylan and the Encantada. Encantada lifts her arms to the sky and in a dramatic gesture pours healing into the hands of the Babaylan which the Babaylan then transfers to the Kababaihan. In this scene, the women act as a conveyor belt moving the body of the estranghero forward with their bodies. It looked like a  magical stream of water being poured out from the sky to his ailing body.

Similarly, in the scene of the great flood, bodies were rolling on the floor like objects swiftly being carried away by the current. There were scenes where the element of wind was the core aesthetic. The ensemble would run furiously in a circle creating the image of a human hurricane with their hair swept away from their faces,  the central energy mounting on stage. In the grand finale, the kababaihan toss their hair up and down like being one with the wind. Swaying hips, bendy torsos and a tempo that mimics gusts of wind created beautiful images.  

The beauty of Locsin’s choreography lies in how the movements themselves easily build up the characters of the story. For instance, Encatada could have been portrayed as the stereotype of mother earth,  colorful and vivacious. Instead,   Locsin’s Ecantada had the soul of a mother with hands that lifted in prayer, hands that could heal, hands that could nurture, and hands that could share joy. Her hand articulations were enough to convey emotions.  Her grounded movements established that she was part of the earth. Her feet were deeply grounded with most of the steps on fondu (on leg bent) but her upper body movements were weightless somewhat explaining that she is divinely connected to the heavens but rooted in service to the mountain and its people.  The Kababaihan ensemble had a lot of linked arms and intertwined bodies which emphasized their sense of community and harmony as opposed to the jagged and non-unified choreography of the violent angular movements of the Guardia Sibil.  

It could easily be my imagination but having seen this ballet multiple times, I started to notice picturesque scenes with a likeness to historical events. For instance, in the scene where the Estrangero was beaten up,  the two guards held both his arms and lifted him off the ground. His feet were intertwined and it looked like  Jesus on the cross. His role was a devout being persecuted and so it made sense. Alternatively, It could also be like  Rizal’s death scene where he falls on the floor because he dared revolt. In the scene where the Guardia Sibil were raping the women, they go to a circular formation and scream out their pain. It looked like there was a reference to Dantes's Inferno, where the mangled bodies scream in the sinner's haven. 

There were also so many references to Filipino heritage embedded in every major scene like the  Marinduque’s Moriones Festival, Manobo healing rituals, and ati atihan. It showcased  Filipino culture albeit reinvented in an alternate imaginary Locsin universe. 

Passionate Dancers

While I believe the material is the real reason behind the show’s success, the performers really brought their a-game. Neo-ethnic style is something hard to acclimatize with but the dancers seemed intent on giving justice to the choreography. Their passionate acting brought the story to a different level. Considering the technical demands of the ballet the cast’s endurance was amazing.

Georgette Sanchez-Vargas as the Encantada owned the stage displaying artistic maturity. Being a Locsin-trained dancer she was able to articulate Locsin’s vocabulary with ease. She traversed through the mountain levels with confidence. Despite being so high up in the mountain, her emotional scenes were strong enough to puncture the audience and elicit tears.  Carissa Adea who performed the role of Babylan showed a different temperament than the pioneer cast but was equally effective. She emphasized empathy and community in her storytelling. Ronelson Yadao who played the estranghero and Lester  Lester Reguindin who played the Fraile were dynamic in both their acting and their dancing contributing greatly to the drama. 

Third Time’s a Charm

This third staging of Encantada was successful for a reason. It gave full attention and respect to the material, the creators’ intention, and most importantly the artists.

Restagers Alden Lugnasin, Annette Cruz-Mariano, and Judelle de Guzman-Sicam drew from their experiences. The nuances that could easily be forgotten and imagery that could easily be non-recognizable were clear as day in this staging.

With Agnes Locsin herself at the helm of this production, she was able to school audiences that theater is not about glorifying one person’s art, it is about making sure everyone’s art comes alive. It takes a village to show something worthwhile. When the National Artist for Dance was asked how she felt about the outcome she said that everything fell into place and that she was happy about this staging. Indeed there is much to be happy about.

This now iconic ballet and the Alice Reyes Dance Philippines Company have just re-established the gold standard for creating a Filipino ballet.

Tickets: Php Free ( Registration Required)
Show Dates: April 21 - April 22, 2023
Venue: Metropolitan Theater 
Running Time: approx. 1 hour and 45 mins
Credits: Agnes Locsin  (Director), Agnes Locsin (Choreographer), Ronelson Yadao (ARDP Artistic Director), Joey Ayala (Composer), Al Santos (Librettist ), John Battala (lighting designer), Salvador Bernal  (Set Design, Costume Design), Salvador Bernal  Reproduction Consultant (Eric Cruz) Set Construction Supervisor  (Erlinda Arcega) Restagers (Alden Lugnasin, Annette Cruz- Mariano , Judelle De Guzman-Sicam)
Featured Cast:  Encantada ( Georgette Sanchez-Vargas), Babaylan (Carissa Adea), Estranghero (Ronelson Yadao), Fraile (Lester Reguindin), Joey Ayala, Bagong Lumad
Company: Alice Reyes Dance Company 

Quintessence, Ballet Philippines' A Gala Celebration

Ballet Philippines opened their season with quite an unremarkable show called "Your Highness"  at the Little Theater.  It was hardly a production  that would   mark the entrance of National Artist for Dance Ms. Alice Reyes as the new artistic director of the Company. "A Gala Celebration" which quickly followed was what fully reflected the changing of the guard. Last August 18, 2017, devoid of any frills Ms. Alice Reyes was officially introduced to the audience as the new leadership. A spotlight hovered over the filled up seats and  she stood up in the middle of the crowd nonchalantly. With a gentle smile and glassy eyes she went on to address the crowd with a speech that was certainly unexpected. As a founder of the Company I somehow expected her words  to be along the lines of tribute to the glory days, direction for the future  or this is Ballet Philippines now.  After all it is with much anticipation that people waited for her hands to once again  touch the company she built. In contrast, she went another way.  She chose to make her first public move a step towards gratitude.  Without further adieu she individually introduced the people sitting in her row. She acknowledged the work  of all other artistic directors  who have contributed  to the survival of Ballet Philippines. She highlighted that the show that we were about to see was a product of continuity and resilience. Her graciousness was heart warming and endearing. It was the that perfect touch that set the mood of excitement not only for the show but for Ballet Philippines' 48th Season labeled perfectly as QUINTESSENCE.  

Neo Classical Gems 

The mixed bill showed a wide range of genres from classical ballet, neo classical and modern pieces. The curtains rose to Ms. Reyes' "Bungkos Suite", a delightfully light  pursuit to give life to Filipino folk music. Just as it has in the past, the quick and easy ballet done on barefoot  played with the usual temperament of the Filipino, naughty and playful.There's  peculiar charm brought about the familiarity to the songs.   This was one of they lighter pieces of the evening. 

Former Artistic Director Bam Damian's " Minamahal, Sinasamba" is  also a tribute to original Filipino music. In contrast it played more on athleticism instead of dainty gracefulness. It dealt with different vignettes of love.  The piece is largely based on a vocabulary of highly technical partnering. Unexpected exciting lifts, turns and quick solos showed off the inspiring bravery of the young bloods performing the piece. The girls took on the tours and the men caught  them in mid air.   Tour je tes  that end in fish dives, classical finger turns  that go from pointe to fondue (bent knee on pointe)  were good twists  to the conventions of ballet. Gasps from the audience could be heard in regular intervals in appreciation for the the dramatics that occurred on stage. 

PHOTO BY JUSTIN BELLA ALONTE 

                           

Norman Walker's  "Summer's End" is one of the classics I have not seen  before. Without any tinge of expectation I loved the serenity of the piece.  Chopin's music was translated into an unpretentious romance. Real life lovers and principal dancers JM Cordero and Rita Winder impressed me with their flawless partnering. The choreography itself is beautiful but there is a noticeable tranquility as they executed partnered extensions. Their sequences seemed to always end up with a luxurious embrace and the fluidity was soothing to the eyes. More than their solid technique it was their openness to tell a story that was a refreshing. Both dancers who were set to leave right after the performances to their new career destination seemed committed to making their last performance something to be remembered. The end of a romance , the end of a journey was anything but bittersweet.

The Classics

Ballet Philippines made sure they included the classics. Victor Maguad and Jemima Reyes starred in the highly technical Grand Pas Classique. Maguad displayed his usual flexibility and Reyes gave her all to her difficult fouettes and turn combinations. Everything was good but this ballet to me is very static with no highs and lows. My appreciation is limited to how good the dancers are.  

Raymonda was more entertaining. Guest Principal Candice Adea led the pack with her movement imbued with  rich elan. Every bit the performer, she marked her steps soulfully. Despite her dreary mustard costume  she still came out  as the bejeweled star of Raymonda. There is much maturity in how she articulates her body and her emotions. Guest Artist Marcelino Libao who partnered her enjoyed his moments on stage .His commitment to style makes him unique. 

Modern Greats 

Krisbelle Mamangun gave life to Agnes Locsin's epic "Salome" This piece that has gained international recognition in the past still comes out strong after all these years. Deeply rooted to emotion a very mature dancer mesmerized me with her impeccable strength and control. Memorable is her slow as death hinge that leads to the floor.I loved how she rose from her split so effortlessly.  Her emotion is internal but visible in eyes. Mamangun is still very much a seasoned dancer. This piece and this dancer is always in my must watch list. 

Vision of fire is an acquired taste just because its pace  may not fit the "So You Think You Can Dance" progression. But my patience was rewarded because it projected a visual so strong  that it allowed me to have a few moments of escape. The movements were quite simple and the dancers had to hold poses for long periods of time while being lighted with rustic colors.  They eventually gather together and  create movements that resemble flickers of fire. Bodies jump like sparks until the whole stage is ablaze with engulfing power.  The flames go stronger and higher. The  repetitive steps, kicks and jumps all of a sudden look like a soothing fireplace rather than a crackling burning fire. The piece was so so engaging that it left me in awe.   I was in awe of the stamina of the cast.  I was  also very surprised to be stirred by such a ballet. It seemed abstract but the light to me was symbolic of hope. I try not to read souvenir programs prior to shows because I don't want to be influenced about the meanings of pieces. I actually didn't see what was written in the program but I stumbled on a telling post about Vision of Fire. Choreographer of the piece Edna Vida declared in a Facebook post that the meaning of her piece has  changed over time. It has gone from  a vague visual concept  to something quite personal and spiritual to her. "My piece is about finding God again! In these times of pronounced evil people are sensing Him in a collective spiritual renewal."I saw this after the show. While what I saw was hope instead of God, I did feel the same rejuvenation. It's a gift when a piece cloths audiences with feelings. I am grateful to have had that experience. 

Alin Alin Alin ang Naiba 

Included in the program are two pieces that do not belong to the Ballet Philippines repertoire archives. Filipino guest artist Marcelino Libao (Hamburg Ballet) brought to Manila John Neumeiers's "Spring and Fall". I feel lucky that this piece was shared to the audience just because it has a lot of history. The solo is actually in tribute of the famous dancer Nijinsky. This solo has generous amount of sweeping circular motions that portray euphoria. Libao was at his best in this piece as he has evidently acquired and embraced Neumeier's style. His massive range of movement to me looks like unadulterated freedom which is soothing to the eyes. 

Equanimity choreographed by Paul Ocampo and Wife Chien Ying is also not part of Ballet Philippines' history. The quirky duet performed by the choreographers themselves  that deals with the intricacies of marriage was cute. The pedestrian movement that alternated  with organic transfers of weight was interesting. Both dancers being senior artists their story telling showing nuances that added texture. 

Lastly there was Kun Yang Lin's dramatic "Moon" . Choreographically speaking, the piece capitalized on stillness. A combination of oriental flavor and western contemporary vocabulary, Moon  delivered an enigmatic dancer.  Victor Maguad sustained shapes gliding through the floor with promenades. In certain points he also  fluidly created shapes  with this ballet using his white skirt. Thoroughly enjoyable because of uniqueness, Moon was a huge success. 

Cohesiveness 

 "A Gala Celebration" shows a lot of merit. The restaging of all the pieces were on point. While the sets were deliberately  minimal, light compensated and beautifully framed the movement. There is much to celebrate.  It was  a good display of how rich the company is. My only issue was that of cohesiveness. At first the show was packaged to be a tribute to dancer  diaspora. Then it was a tribute to repertoire. However, there were pieces that were not created specifically for Ballet Philippines nor were they part of their history. Dancers who were leaving  and or celebrated surprisingly  had minimal parts.  There were featured  dancers who were also not a significant part of the Ballet Philippines journey. Collectively it did not leave a definite message  about what that show was really about. It did not quite deliver what it promised.  Much like a sentence without a period, it leaves you questioning the intentions. To me, it was simply a regular mixed bill performance. Nonetheless, I did enjoy its entertainment value.Diversity and strength are an artist's best friends and they were right there on stage  guiding the company's every move. This brings forward the reality of their season mantra quintessence.  I can see the effort of the dancers to please no less than the National Artist for Dance and the founder of their Company Ms. Alice Reyes.  Bravo Ballet Philippines. I can't wait to see the direction they will take as they  step nearer to the golden era. 

A few of my favorite moments from the show

October-Ballet-Fest!

 

Nothing ordinary about October. In fact, it's going to be a lively one for the dance world. Our three major ballet companies will offer three very distinct programs. I'm quite happy to see artistic diversity as it gives audiences an option to see all three companies even if they are  just days apart. It allows each company to refine their respective brand imagery. Truly all three companies have unique qualities that make them all worthy of a full house. 

Philippine Ballet Theatre offers Merry Widow as it's second offering for the season. It is a story about former lovers who are given a chance to reignite their lost love. The opportunity comes  when a party reunites a rich widow named Hana Glawari with her first love  Count Danilo  to her first heartbreak. The story is told with light humor and ostentatious dramatics.  Similar to who PBT really is, it promises to show sophisticated refinement. I reckon a sense of ownership to this flamboyant ballet.  PBT is actually  the only company in the Philippines who has performed this ballet. It was last seen in 2001 when the Company staged Julie Boromeo's grandiose  version. This time around based on Franz Lehar's Operetta, PBT's Artistic Director will present his own version. Having seen snippets of their rehearsal it gives me the impression that their new show will be  everything but simple. Interesting partnering, colorful unisons and  strong story telling, that is what I foresee. Their show opens on Sept 30 and closes on October 1. Don't miss Kim Abrogena and Veronica Atienza as Hana Glawari and guest artist Martin Buczco  as Count Danilo (Berlin Staatsopera). 

Ballet Manila sticks to what it does best. As a second installment to their season Flights of Fantasy, the Company will be staging the ultimate white ballet "Swan Lake" which opens on October 7, 2017 and closes on October 15, 2017.  The company takes on the challenge of preserving the tradition and history of the ballet  by restaging a show that is close to its original form.  Artistic Director Lisa Macuja herself devoted time and effort in mentoring her new breed of Swan Queens and it will be interesting to see if they will conquer the technical and artistic requirements of the ballet.  The role of Odette/Odile will be played by Katherine Barkman, Abigail Oliveiro and Joan Sia while Joseph Phillips, Elpidio Magat, Romeo Peralta, Rudy de Dios and Mark Sumaylo will be taking on the role of Prince Siegfried.  This dramatic story ballet glorifies the art form with its physical demands.  The promise 32 fouetttes, drilled corp de ballet and the majestic music of Pyotr Ilyich Tchaikovsky should  be enough to draw in audiences. Swan Lake simply can't be missed. It's a ballet that should be watched not once but numerous times in one's lifetime. 

October-Ballet-Fest ends with Ballet Philippines' "The Exemplars. Amada and other Dances". The most contemporary of the three companies, BP will present a  mixed bill that will show pieces from their collection of oldies but goodies. Most will be modern ballets.  Some of the works that will be presented were created as early as the seventies.  "Amada" will make a comeback with no less than international ballerina Candice Adea. This piece is particularly special because  it is  serendipitous collaboration of artists who now hold the highest honors in art.  The story was based on  National Artist for Literature Nick Joaquin's "Summer Solstice" The music used is by National Artist for Music Lucrecia Kasilag. Finally the choreography was crafted by National Artist for Dance  Alice Reyes. Indeed watching this can be called eye opening education. Also included in the  mixed bill is "Valse Fantasy" created by Muneca Alonte, "Ang Sultan" by Gener Caringal, "Songs of a Wayfarer" by Norman Walker and "Concertino" by Pauline Koners. Their mixed bill is pretty much establishing that Ballet Philippines. They open on October 20, 2017 and closes October 22, 2017. 

All three companies will have their award winning dancers taking the lead. All three companies are also making use of guest artists. This makes October-ballet-fest a tad more interesting. The best of the best are ready to be seen. Now will this healthy competition help fill up the theaters?! I surely hope so because each Company can provide  a different experience. Something new from Philippine Ballet Theater, something classic  from Ballet Manila and something revisited from Ballet Philippines. Take your pick people. See you everyone at least three times this October.

Ballerinas in Rehearsals 

Photos by Justin Bella Alonte 

Candice Adea rehearsing Amada 

Denise Parungao of Ballet Philippines 

Philippine Ballet's first  full stage rehearsal
Kim Abrogena with Martin Buczco 

 Ballet Manila Swans
Photo by Alfren Salgado