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.

Lia Cirio Makes Her Entrance

To live the life of a dancer would be to commit to the unending cycle of entrances and exits. It is the acceptance that the conventions of ballet would demand a routinary sequence of preparation, performance and moving forward to the next level. Each entrance you make whether it is the studio to rehearse or a stage to perform in determines who you are and who you will be as an artist. It gives you a glimpse of how you will exit the world of dance.The cycle is mandatory is fulfilling itself but success is never a certainty For a non-dancer the uncertainty of it all and the amount of sacrifice it requires seems inequitable.  But then again, once in awhile success stories of people remind us that the  roads less traveled could sometimes give a lifetime of blessings. Filipino-American Lia Cirio's ballet career is a glorified example of how this potentially frustrating life could turn out to be a tale filled with happy ever afters.

Cirio is currently one of Boston Ballet's Principal Dancers. While the globe is filled with Filipinos making a name for themselves in the field of dance, Cirio is one of the few who have attained the highest rank possible in a high profile company. She has even been hailed as "one of the most accomplished actress-dancers in Boston Ballet" by the Patriot Ledgers. Looking at her roots, her journey seems to have been easy peasy lemon squeezy. At sixteen she was awarded a Level One award from the Advancement of the arts and was Presidential Scholar in the Arts Finalist. In the same year she was given an apprenticeship in Boston Ballet. She went from apprentice to corps de ballet and then soloist in a very short time. At 24 she was named Principal Dancer. This olive skinned medium-sized Asian girl with broad shoulders managed to quickly inch her way to the top despite the hundreds or thousands of statuesque pristine ballerinas crowding her way. At 29, she leveled up and created, along with her brother Jeffrey, Cirio Collective. This company is one that is committed to artistic cross collaboration. She now manages it in the capacity of Associate Artistic Director. At 32 she is about to explore choreography for Boston Ballet and will premiere her first work sometime in November. With a timeline like that, one would assume there was a fairy godmother working overtime to help her perfect each plie and tendu. At a time where racism has taken a new life form, Cirio seems to have been sheltered by a magical force field. Talking to this ballerina and seeing her move on stage however grounded me back to reality. Cirio is unscathed and continues to progress  not by any  miracle but because she is  a force to be reckoned with. 

Cirio was flown in by Ballet Manila to star in their American Ballet Stars Gala. This is her very first time to see the Philippines, meet her relatives and perform for her countrymen. I went inside the dressing room expecting to meet a very straightforward cutthroat type of over achiever. Instead I met a bright eyed "familiar" face who immediately reached for a hug. She had a warmth in her eyes that easily put me at ease. She also had that infectious electric energy that made you feel her inner strength. It's quite uncanny because she was very excited about getting to know her heritage but in an instant she exuded the typical Filipino charm. 

When asked about her journey as a Filipino-American artist, she confirmed that just like any successful artist, she had gone through the mandatory aches and pains. It was not without sacrifices that she got this far. With evident intensity, she shared her gratitude for her family who was the driving force of her success. She mentioned all the teachers that believed in her as instrumental in her journey. 





When asked if she thought her being Filipino was in any way a deterrent, she explained the sensitivities she encountered. Growing up she says she never felt she was different. She was lucky enough to be discovered and nurtured by a company who believed fiercely in the power of diversity.  Boston Ballet's leadership has always been focused on simply the art of dancing. With a very open-minded company she never really experienced any discrimination. However when she started getting principal roles she did have to deal with the expectations and standards of the audiences. A woman of color getting roles usually reserved for  the stereotype of fair skinned dancers is an issue for some. This she overcame by giving the roles a flavor incomparable to anybody. It was a conscious effort to give and give more of herself so that they would enjoy her as an artist and blur the lines of color. While she recognizes this as a sacrifice, she is not burdened by it knowing she is paving the way for more Asian women to follow her lead. Now at the peak of her career, she is focused not on getting the accolades but more intent on the amount of art  and inspiration she can  share with others.

Cirio honestly declared that she feels there is much to be discovered about her Filipino roots. Beyond pancit, adobo and Filipino holidays she isn't quite sure what exactly is distinctly Filipino about her. She was ecstatic at the prospect of coming here and interacting with the locals and discovering the persona she (willingly or unwillingly) represents in a global scale. She was already floored with her simple encounters with prima ballerina Lisa Macuja and the Ballet Manila Dancers. She reckons the  complete experience will build her up as both a dancer and a person.

As a dancer, Cirio has been commended for her boldness, sophistication and athletic pliability. Her physique fits the profile of a bravura dancer or a neo-classical ballerina. When she said she was doing swan lake for the gala I assumed she was doing the black swan grand pas de deux. In rehearsals, she surprised me with her white swan transformation.  In a role I would not associate with her, she had me mesmerized. Watching her articulate the ethereal swan was quite an experience. When we were talking about her art she said that her only goal was the pursuit of finding herself in every role that she takes on. Bit by bit she wanted to unravel her soul by finding the feeling in her steps. As I was watching her give breath to her every movement, I felt the sincerity in her words. She  humanized the role of the white swan, pouring out visibly all the emotion she could muster. She was not simply the soft ethereal creature that needed saving. She was a feathery swan in movement but her flow and expression was punctuated by the boldness inside her. Her dancing was full bodied yet sensitive. It was nice to see her brand of uniqueness. Filipino pride swelled up inside my heart knowing the rest of the world have seen this girl shine under the spotlight.

Beyond her dancing duties for Boston Ballet, Cirio is busy with Cirio Collective. With her brother Jeffrey Cirio of American Ballet Theater, they  plan out their season while they are performing in their respective companies. During their off season, Cirio Collective launches into the creative process of choreography and rehearsals. The Company is now on its fourth season and she looks back at the new pieces that they have done fondly. In their fifth season, they will attempt produce choreographers from within the group. This exchange will definitely allow the dancers to understand the roles of both the choreographer and dancer more and will surely transform the people involved.   The Company  provides a safe space for artists to go deeper into their art by means of interaction.  She looks at this project not just as a performing group but an advocacy project for dance artists. She also looks forward to the possibility of bringing her company here in the Philippines through the generosity of Ballet Manila. 

After my encounter with Lia Cirio,I realized that she is the personification of a typical ballerina- hardworking, dedicated, humble. She is living proof that the ballerina mandate can take you far. But frankly, I believe what has helped her achieve what she has in such a fast pace was her giving spirit. With every entrance she makes she delivers with the intent to give back and that's why her every exit is a satisfying end and beautiful beginning.  Throughout her journey, she would gather all the energy, lessons, support that she received and deliver performances with optimum gratitude. Filled with loyalty for the people who have been part of her journey, she finds different ways to give back through her dancing. Her visit here in Manila was the perfect example. She came  excited to perform for a crowd she's never met knowing they have supported her from a distance. She came wanting to inspire them beyond entertainment. That giving spirit is what makes her a progressive, evolving and sincere artist. It's what makes her a true example of an empowered modern woman worthy of emulation. While her visit was brief, I reckon she left a trail of happiness in inspiration with the local dance community. May this lovely woman make her way back to the Philippines very soon so we can all relish her art and her spirit. 

Ballet Manila's Swan Lake, A Tribute to Tradition

Ballet Manila's opening gala of Swan Lake reminded me of a  popular quote that goes  "Dancers are athletes of God". The reference was not  because of the blood and sweat that sacrificial dancers go through when mounting a full length but  because I saw  a cloud of competition gently hovering over the Aliw Theater. Perhaps not everyone understands the magnitude of the challenge Ballet Manila chose to take. Swan Lake in itself  is a test of discipline, unity, technique and artistry. It is without a doubt a measure that clearly reflects  the competence of a ballet company.   In this case it goes beyond that. Ballet Manila's Swan Lake is the third version to be presented  in a span of 12 months. Whether the companies intentionally ignited the healthy competition or not, it is there for the taking. Philippine Ballet Theatre  showcased the meatier excerpts of the ballet while Ballet Philippines did the full length earlier this year. It is almost serendipitous  that Ballet Manila ends the battle of the swans.  With two distinctly different approaches to the classic, there is a lingering  expectation for Ballet Manila to deliver something palpable. Save the best for last?!  

Ballet Manila's version is largely based on the 1895 staging of Marius Petipa and Lev Ivanov. Except for some minor updates  in the divertissement section of the ballet,  the company boasts of sticking to the original choreography. Fiercely loyal to the Vaganova brand, it seems they are intent on proving that there is value in holding on to tradition. Don't fix what ain't broken, instead  make it shine so everyone can recognize it's value. They simply retold the story of the prince who found the cursed Swan Queen Odette in the forest. In mime and movement they allowed the story of deception and redemption of an interrupted love. 

The Cast

BM Principal dancer Katherine Barkman came out of the mist and debuted as Odette/Odile in Ballet Manila's opening gala. With an arresting sense of calm and an air of assurance she took  her very first arabesque and lingered beautifully. Her next rushes of movement would have the same quiet quality that showed a level of maturity . As Odette she chose to portray an ethereal princess with a weightlessness that was appropriate for the lyrical requirements of the part. But it was as Odile that she won my vote. Her wicked temperament was memorable and so was her imperious  fouettes. She denied me  of guessing what turn would go next because she confidently shifted from single-single-doubles to continuous doubles. She commanded her legs as she wished  and they mechanically obeyed. She was born a bravura but passed the test of performing both roles adequately.

Katherine Barkman as 

Partnering Barkman is the newly recruited Guest Principal dancer Joseph Phillips. He was last seen playing the same part in the Ballet Philippines' version. He reprises this role with a different set of steps to adhere to. He whipped four or five pirouettes  and did his trademark jumps with the strength of a young man. This time around, I felt his artistry fell short. There were rare but noticeable moments of muted despair and urgency.  I will have to commend him however for flawlessly partnering Barkman. Their partnership has a hefty amount of potential. Longevity seems  achievable. 

Joseph Phillips as Prince Sigfried 

                        

Alfren Salgado as the villain was effective. He was an imposing character who grounded his every moment on stage with a devilish flair. His leaps were equally flamboyant. 

Among the Company's strongest was Heewon Cho who was refreshing to watch. She performed the pas de trois in the first act and cygnets in the second act. She displayed her ability to sway the audience with her sparkling smile and generous port de bras (movement of the arms) and  high extensions. Her turns were beautifully placed  and musical. This ballerina  was light and lovely. 

Heewon Cho in Pas De Trois

Swan Lake would be powerless without an efficient corp de ballet. I would have to say among the three companies they glaringly won the best ensemble award. In strength and in number this corp de ballet was unparalleled. (Their previous staging of Act II was even better) Pictures don't lie. Impeccable lines and photo-friendly arms, legs and level of eyesight. Definitely this fleet of swans deserve applause. Well played indeed. 








Denied Preferences
Act 1 was vibrant and lively with an army of beautiful dancers as ensemble and an good trio to enjoy. Act 2  was dramatic and lyrical. Act 3 for me was a bit of a downer  because my preferences were not satisfied.  While the dancers performed well, I again missed the more dynamic updated versions of character dances being performed by featured soloists instead of the ensemble. It was quickly redeemed by the dramatics that the Black Swan Pas de deux provided. The culminating act closed the show with  a strong vision of the Prince and Odette in flight. It was a Nutcracker-ish moment that sealed the story with hope and happiness. A dazzling ending to a very serious ballet journey. 

Spectrum of Light and Color 
Much has been said about the dancing but it is imperative to make mention the details that helped emphasize it.  Jimmy Villanueva's light design is impeccable. Just as extraordinary as the Princess transforming into a swan, the lights had its own magic.  Much like the movement of the Swan, the lights were graceful and its every move purposeful. I find it amazing that he is able to go dramatically dark while keeping the dancers' faces luminous. The illusions he creates are powerful. 



Worthy 
The iconic story that has captivated hearts of many was given justice. Looking at the production in its entirety, it is a lovely tribute to Tchaikovsky's music and Petipa and Ivanov's choreography. Swan Lake is always a good idea, but I would have to say that Ballet Manila is a good place to start if you want a satiating taste  of  a white ballet. Ballet Manila was right. Keeping traditions can be delightful. Third time is a charm. 

Lisa Macuja as Queen 

Gerardo Francisco as Jester 

Jessa Ballote in Pas De Trois

Elpidio Magat in Pas De Trois