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.

Review: Ballet Manila’s ‘Don Quixote’ is an electrifying win

Republished article ... Original release can be seen in this link http://theaterfansmanila.com/review-ballet-manilas-don-quixote-is-an-electrifying-win/

Amidst the threat of horrible rain, Ballet Manila (BM) gathered the city’s balletomanes to show them their feel-good Don Quixote last May 27, 2023. Ballet Manila’s Don Quixote delivered an electrifying win to a thrilled audience. 

To dream the impossible dream

Don Quixote’s story has always revolved around the beautiful transformational quality of dreams. Much like this central theme, it has allowed Ballet Manila to once again dream the impossible dream and wake up to a beautiful reality. The company has always staged full-length ballets with a massive fleet of dancers. With half the number of performers, BM dared to dream and staged Don Quixote with resourcefulness and creativity. Just like any dreamer, they won big applause and admiration. 

Dancing to the sprightly music of Ludwig Minkus, the love story of Kitri and Basilio was told. The curtains opened, revealing a statuesque man infatuated with his books of love and chivalry. With his reality blurred by dreams, he voyages as a knight-errant looking for his love, Dulcinea. In his pursuit, he meets the characters whose lives he would change. The innkeeper’s daughter Kitri and the town barber Basilio are in love and Kitri’s father would not have it. The ballet then unfolds its comical side when Gamache, a rich gentleman, sets his eyes on Kitri to the delight of Kitri’s father. Their fight to stay together fills in three acts with thrilling technical proficiency and high dramatics. In the end, Don Quixote is instrumental in carving out a happy ending. 

Performing from a place of comfort

It seemed like Jasmine Pia Dames who played Kitri and guest artist Esteban Hernandez who played Basilio both performed from a place of comfort. Both filled the stage with boundless energy, matching the temperament of Minkus' vibrant music. More importantly, they displayed a marathon of dramatics with a clear commitment to storytelling. Together, they were charming. 

Hernandez being a Latino, showed an organic Spanish flair. He appeared comfortably playful and mischievous. Hernandez is a principal dancer of the San Francisco ballet.  As a seasoned professional, he displayed quality technique with clean pirouettes, ala seconde turns, and tours. However, it was a bit disappointing not to see one or two unconventional tricks in the first acts. He made up for it in the third act with five pirouettes (turns), strong elongated coupe' jete en tournant (traveling split jumps), and spagat (turning split jump). He also partnered Dames flawlessly, nailing all the difficult lifts, like the mandatory held ala seconde overhead lift. This is his first time performing this full-length ballet and the audience validated his performance with generous applause and bravos. 

For Dames, performing in her home court was not her only advantage. This is her second time essaying the role of Kitri. When she debuted in the role, everybody was charmed by her youthfulness. This time around, she was all woman. There was a sophistication and a calculated restraint to her portrayal. Physical comedy was  replaced by more meaningful nuances and interactions with her partner. This mature approach to the role made her more endearing. As for her technical abilities, there was a visible confidence in the execution which made the audience feel at ease while she was performing the most difficult of steps. Dancing side by side with an international star, Dames remained at the forefront dancing as a real star. Not a moment was she an afterthought, which says a lot about what she has accomplished for herself.  

Real-life couple Mark Sumaylo and Abigail Oliveiro were unmissable as Espada and Mercedes. Armed with their fearless backbends and unmistakable stage presence, they defined the word suave. They took a backseat as the support soloists but did not waste their time on stage as they savored each step with all eyes on them. They too were basking in the comfort of each other. 

Supporting roles by Arnulfo Andrade as Don Quixote, Jessa Balote, and Pearl Dames as friends, Gerardo Francisco as Gamache, Elmo Dictado as Sancho Panza, and Rissa Camaclang and Romeo Peralta as gypsies were performed with clarity of character all throughout. 

Missing the old 

While the leads were ahead of their game, there were some distracting elements here and there. Act two opened up with a breathtaking sight of blue. Brilliantly lit by lighting designer Monino Duque, the dancers looked ethereal in their blue tutus with cascading sparkling gems. It was a sight that would elicit a gasp in awe of the aesthetic. However, as the dancers danced, the magic dissipated. The physique of some of the dancers was distracting and their ensemble work was not at par with Ballet Manila’s trademark of exquisite corps work. Ultimately, they looked like a bored backdrop forced to pose. Some had big smiles, some had small smiles, some had pensive looks and some were blank-faced. It is important to remember that the ensemble needs to have a collective soul that breathes life into a ballet. Every role is important. 

The beautiful Eva Chatal was a polished technician. However, against a backdrop of blue, she did not possess the lightness of a dream. Admirable though are her beautifully extended lines. 

Jessa Balote as Cupid was crisp and cute. Her jetes were picture perfect with commendable precision and energy. 

A dream come true 

Ballet Manila has brought life back to this well-loved story ballet. And just like that, they showed our local audiences that you can fight for your dream and succeed. No lavish sets and no battalion of dancers on stage, but they have a whole lot of dreamers on stage making up for whatever is absent. Bravo Ballet Manila for making the impossible possible. 

Tickets: Php 1,200.00 - Php 2,000.00

Show Dates: May 27 - May 28

Venue: Aliw Theatre 

Running Time: approx. 2 hour and 30 minutes (two intermissions)

Credits: Ludwig Minkus  (Music), Marius Petipa (Choreography), Lisa Macuja Elizalde (Artistic Director), Monino Duque (Lighting Designer), 

Cast: (Principals and Soloists) Esteban Hernandez, Pia Dames, Pearl Dames, Jessa Balote, Eva Chatal, Mark Sumaylo, Abigail Oliveiro-Sumaylo, Gerardo Francisco, Alvin Dictado, Arnulfo Andrade, Rissa Camaclang, Romeo Peralta