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 Reimagined ‘Le Corsaire’ Lets Principals Shine (Archive)

 

REVIEW: Ballet Manila's Reimagined ‘Le Corsaire’ Lets Principals Shine

 (Republished from Theaterfansmanila)

Excerpt: This Ballet Manila production, reimagined by Lisa Macuja Elizalde, is a resounding success, re-establishing the company as a strong contender in the classics.

Lisa Macuja Elizalde often uses the phrases, “from page to stage” or “from book to ballet.” These clever phrases adequately reflect what Ballet Manila is trying to do with its 2024 season. 

They opened with the story ballet Le Corsaire, loosely based on Lord Byron’s poem “The Corsaire,” which has inspired numerous ballet adaptations since its premiere in May 1858. While Joseph Mazilier created the original staging, Marius Petipa's revivals introduced new elements to the ballet. 166 years later, ballet companies are still coming up with new restagings of this ballet, simply because of its exciting plot that allows for a lot of artistic liberties. 

Ballet Manila was the first ballet company to stage Le Corsaire in Asia in 1998. Since then, they have faithfully staged the Russian version and libretto eight times, much to the delight of their loyal audience. But this year, Artistic Director Lisa Macuja Elizalde opted to present a reimagined ballet. 

Archaic Ballet 

Briefly, Le Corsaire follows Conrad, a pirate who falls in love with Medora, sold to a wealthy Pasha as a slave. He and his crew embark on a journey to rescue her, facing obstacles from villains Lankadem and Birbanto.

In all honesty, the story of Le Corsaire is the most archaic and sexist of all the story ballets. It’s a story that does not reflect the current times and depicts women in the worst light, perpetuating their objectification and commodification. The opening scene says it all: Lankadem (slave seller) presents his fleet of women and puts a price on each one. 

The ballet shows a narrative that women need to be saved over and over again, coupled with instances of violence and deceit. Everyone who has seen the ballet knows that the storyline appears irreparably flawed, but kudos to those who try to make it more appropriate for modern audiences. 

The Old and the New

After much thought and research, some of the changes that Lisa Macuja Elizalde implemented in this version were similar to earlier stagings of the ballet. Just like her version, there was no shipwreck prologue. The omission of this prologue leaves a void in understanding the nature of Conrad and Medora's relationship. Without it, the presence of pirates in a settled town remains puzzling, as pirates are typically nomadic. 

The characters of Gulnara and Medora are Pasha’s possessions but Pasha chose Medora over Gulnara to be his wife. In Ballet Manila’s newest version, Gulnara (who is seen in the first act as distraught at the thought of being sold to Pasha) falls in love with Pasha and tricks him into marrying her. While consistent with earlier versions, Gulnara's declaration of love seems improbable. It's hard to swallow that Gulnara–one of Pasha’s slaves–would shift so easily from a sad slave to a scheming lover. I found it difficult to believe Pasha could be deceived, especially considering the casting. It seemed improbable that he would mistake the petite Shaira Comeros for the statuesque Abigail Oliveiro on such a significant occasion as his wedding. The mere addition of a veil was all it took to persuade him.

In Ballet Manila’s new version, Act 1 was just filled with aesthetically pleasing scenes. Medora, played by Oliveiro, emerged from a beautiful balcony. Conrad, played by Mark Sumaylo, reached out to her and the couple looked like something from a fashion magazine. Oliveiro was dazzling with her white tutu glittering under the spotlight. Sumaylo looked every bit the lead. 

In this rendition, the iconic portrayal of Medora on a platform as a woman being sold, along with the Palestinian and Arabian dances, was omitted. I consider this a commendable decision. Instead, these were replaced by the odalisques, one of the most awaited segments of the ballet.

The climactic showdown between Birbanto and Conrad culminated in a riveting spectacle, punctuated by the thunderous echo of gunshots piercing the air. As Birbanto fell lifeless and Ali lay injured, the audience held their breath. The scene concluded poignantly as Medora and Conrad set sail into the sunset, accompanied by Ali and the remaining pirates.

The final fight scene between Birbanto and Conrad culminated with dramatic gunshots piercing the air. The audience held its breath as Birbanto fell lifeless and Ali lay injured. The scene concluded with Medora and Conrad setting sail into the sunset, accompanied by Ali and the remaining pirates.

The earlier versions of Le Corsaire end with a glorious visual of a shipwreck. This version follows this line of thought and ends it with a beautiful pas de deux showing Medora and Conrad conquering love against a backdrop of the sun setting. Although the pas de deux was particularly lovely, I couldn't shake off a sense of unease as the curtains fell. While audiences typically relish a satisfying conclusion, this one felt rather grim. The couple lost their friends (including Ali, historically Le Corsair’s poster boy) and all their treasures, leaving them without a home. Upon reflection, it becomes apparent that the story actually ends in tragedy.

Technical Demands 

The technical demands of this ballet were very high. With two principal pairs and six soloist roles, the inventory of difficult steps was like a full buffet of tricks. As an audience member appreciative of the skill required, I found myself fervently rooting for the dancers as they gracefully interpreted the music. Ballet Manila's Principals and Soloists executed their roles flawlessly, exuding an inspiring sense of composure that filled me with pride. Their performance was deserving of the spotlight.

The curtains rose to reveal Lankadem played by Noah Esplana who just electrified the audience with a sure-footed pirouette with six revolutions. To make it even better, he repeats it, performing another impressive quintuple pirouette. This author sat a little straighter and clutched her camera tightly, ready for his next move. His charisma was undeniable. 

Based on his debut, he shows promising potential to become a true star. While his execution of jumps and turns could use more precision and clarity, there were moments of brilliance that ignited excitement. Despite occasional instances of floppy footwork, his performance left me intrigued. I'm eager to follow his journey and see how he progresses in future roles.

Back in 2013, Mark Sumaylo debuted as Conrad in Le Corsaire and even then, Sumaylo showed that he had everything he needed to be a star. In this production, he was confident and carefree with the maturity of a seasoned Principal dancer. He now has the clarity of movement and mime. His partnering skills are also something to commend because he consistently enhances the performances of his female counterparts.

Oliveiro, portraying his love interest, played a pivotal role in the ballet's success. She had a sophisticated exuberance that drew the audience’s attention. Balancing elegance with energy is a delicate task, yet she managed it effortlessly, delivering a performance that was a sheer delight. Despite the very technical choreography that requires a dancer to reel in the emotion, she danced with complete joy and emotional involvement in every scene. Her extensions were elongated and her epaulement and epaule (shoulder and arm twists while doing extensions) were luxurious. Her sustained balances were thrilling and ultimately satisfying to watch. Her joyful leaps  evoked smiles and a sense of flight, as if we were soaring alongside her.

Joshua Enciso portrayed the role of Ali with notable proficiency, quickly capturing the attention of balletomanes with his more polished dancing.Shaira Comeros as Gulnara had the emotional mettle to stir a crowd. Her unwavering portrayal of the tearful woman being sold off was piercing. Her movements were so centered that even when she changed the flow or step it would remain undetected by an untrained eye. She was every bit a Principal dancer– calm, composed, and seamless.  

Soloists Pia Dames, Pearl Dames, and Jessa Balote performing the odalisque were meticulously clean.  Romeo Peralta and Rissa Camaclang as Birbanto and Birbanto’s mistress were convincing in both movement and character. Pasha, played by Gerardo Franciso, tickled everyone with his humor, which made me wish that he and Esplana had more comedic moments. 

Back to Classic

The primary challenge in reimagining Le Corsaire lay in its problematic narrative, but this ballet was never really about loving the storyline. Rather, it thrives on the exhilarating choreography and captivating dramatics. In this regard, Ballet Manila's production stands as a resounding success, re-establishing the company as a strong contender in the classics. Their soloists and corps de ballet elevate every visit to the theater, showcasing a level of excellence to their audiences in every performance.

 

Tickets: P1,500, P1,200

Show Dates: February 24-25, March 3

Venue: Aliw Theater

Running Time: 2.5 Hours

Credits: 

Artistic Director: Lisa Macuja Elizalde 

Retelling: Lisa Macuja Elizalde 

Choreography: Marius Petipa

Cast: 

Conrad : Mark  Sumaylo

Medora : Abigail Oliveiro

Lankadem : Noah Esplana

Gulnare : Shaira Comeros 

Ali: Joshua Enciso 

Pasha : Gerardo Francisco

Odalisques: Pia Dames, Pearl Dames, Jessa Balote