Though it is said to have a ridiculous plot and hopelessly flawed heroines, Le Corsaire is still considered a gem in the classical dance repertoire. Its redeeming value, says Ballet Manila artistic director Lisa Macuja-Elizalde, is its technical proficiency that makes it a true showcase for principal dancers.

Writing in her director’s notes for Ballet Manila’s restaging of the pirate adventure in 2010, she expounds: “I have lost count of the number of virtuoso pirouetted tricks that the male dancers do as they play the pirates, slaves and slave traders. The signature 32 fouettés in the coda of Medora’s grand pas, the pique menage and fouettés of Gulnara just before being spirited off into a rich Pasha’s harem, the complicated variations of the Odalisques and the intensity of all those double tour en l’airs and “helicopter side splits” that Conrad, Lankadem, Ali and Birbanto take turns doing… Well, you get the picture!”

Ballet Manila’s fifth staging of Le Corsaire was done at the new Aliw Theater for the first time. There were four casts of lead performers, with some dancers making their debut in key roles including former principal artist Rudy De Dios as the pirate Conrad, Elena Chernova and Sarah Abigail Cruz as the damsel-in-distress Medora, and Zaira Cosico as Medora’s friend Gulnara.

With choreography by Marius Petipa, Le Corsaire was restaged for the two-week performance run by ballet master Osias Barroso Jr. and guest ballet mistress Natalia Raldugina. Macuja-Elizalde further shares in her notes back in 2010: “Natalia and I both graduated, a year apart, under the tutelage of our mentor Tatiana Udalenkova. It is a wonderful coincidence for Ballet Manila trivia collectors that Le Corsaire hits its 46th performance on opening night – exactly two days before this ballerina turns 46 – ouch!”