The Ballet Manila Archives is the repository of documents, print, photographic, audio and video materials and memorabilia relating to the history of Ballet Manila and the life and career of its founder, prima ballerina Lisa Macuja-Elizalde. This site is powered by Ms. Elizalde and Project Art, Inc.
Ballet Manila has showcased a rich palette of hues in its productions over the years. Now, the company’s true colors are revealed! Gathering photographs from the Ballet Manila Archives, we present the vibrant and the somber, the heavenly to the earthy, in a series of virtual exhibitions – one shade at a time.
The flirtatious Widow Simone (Jonathan Janolo) and the seemingly enamored Thomas (Marcus Tolentino) go toe to toe in La Fille Mal Gardee (2008). The scene is made hilarious as Simone – usually played by a danseur – gives her all to attract the wealthy landowner, dancing in a frumpy gray costume overlaid with a white apron and edged with white lace. Photo by Ocs Alvarez
Lisa Macuja-Elizalde is the picture of style and sophistication as she goes on pointe in this gray gown with gray/silver and black embellishments on its bodice. The Tony Fabella-choreographed Dalagang Pilipina, featured in OPM at OPB (2003), actually fuses the grace of ballet and the elegance of fashion. Inspired by a fashion show where ramp models ooze with glamour, Ballet Manila’s ballerinas in the number are clothed in designer Auggie Cordero’s creations honoring the contemporary Filipina. Photo by Ocs Alvarez
Beautiful angles and sleek lines characterize Augustus “Bam” Damian’s contemporary piece, MAZN, performed in Halo-Halo Extra Special (2009). Nazer Salgado and Zaira Cosico – two of the four dancers whose initials form the title of the choreography – are clad in no-nonsense gray to execute the movements set to pulsating music in this Ballet Manila favorite. Photo by Ocs Alvarez
To save Medora and other women sold to Seid Pasha, the pirate Conrad devises a rescue plan in Le Corsaire (2010). He and his friends – shrouded in gray robes – present themselves as holy men to the Seid Pasha, telling him that what they are standing on is sacred land and that they should all bow and pray. Convinced, the slave owner instructs his men to follow – giving Conrad and company the chance to implement their mission. Photo by Ocs Alvarez
Wearing pants the color of ash with matching checkered top of gray and black, Francis Cascaño symbolizes the vigor and idealism of youth in a flashback to his character’s activism days in Pangarap. The choreography by Francis Jaena is part of a suite dubbed TLC with Papa Jack which was showcased in Kay Ganda ng Ating Musika (2014), a production using Original Pilipino Music. Photo by Ocs Alvarez
The close bond between Giselle (Joan Emery Sia) and her mother (Kong Ke Xin) is evident in this scene from Giselle (2019). The attentive mom is always there by her daughter’s side, making sure she doesn’t over-exert herself because of the young lady’s heart affliction. Little does the mother know that the subdued tone of her gray dress foreshadows a tragedy soon to come. Photo by Erickson Dela Cruz
The gray-and-white color combination worn by the groom (Gerardo Francisco Jr.) is echoed in the outfits of the male entourage as they carry him and his bride (Sofia Sangco-Peralta) aloft in Dulce. The rousing ballroom-to-ballet number was choreographed by Alberto Dimarucut and coached by Brian Babon for Halo-Halo Supreme (2008). Photo by Ocs Alvarez
