‘Dance for Shaz’ celebrates the life and work of Osias Barroso Jr.
Lisa Macuja-Elizalde performed with Shaz as Kitri to his Basilio in Don Quixote numerous times. Dance for Shaz, she says, is a way of giving back to a constant inspiration.
In what is touted as one of the biggest gatherings of its kind, the dance community will come together to honor the life and work of dancer, choreographer and teacher Osias “Shaz” Barroso Jr. on October 7, 5 p.m., at Aliw Theater.
Dubbed Dance for Shaz: A Celebration of a Life in Dance, the event will feature twenty-two groups led by Ballet Manila of which Shaz was co-artistic director until his retirement in 2021 following a stroke.
As Albrecht in Giselle: “For a male dancer, it’s the ultimate role to perform in classical ballet.”
“We will give Shaz a concert like no other!” says Lisa Macuja-Elizalde, Ballet Manila artistic director, who is spearheading this show for her erstwhile dance partner of sixteen years and with whom she co-founded and led Ballet Manila for twenty-seven years.
Apart from Ballet Manila, Dance for Shaz will also feature: ACTS Manila, Academy One, Alice Reyes Dance Philippines, Balay-Bugay Dance Studio, Ballet Baguio, Ballet Philippines, Benilde Experimental Dance, CAPA Dance Academy, Dancelink Performing Arts, Elan Ballet and Pilates, Galaw Co. Dance Theater, Hampton Court Ballet, IDMM Ballet School, Kreativitat Dance Indonesia, LikhaPH Artist: ELLIPSIS, PCD School of Performing Arts, Ridgepointe Ballet, STEPS Dance Studio, The Dance Conservatory, VGU-Dance Theatre Arts and Vella C. Damian School of Ballet.
Each group will perform a number in appreciation of a person who shared with their leaders and members the love of dance. “The best way we in the performing arts can keep Shaz close to our hearts is to continue to devote our 100 percent to something he loves,” Macuja-Elizalde comments.
Though he started dancing ballet only at age 18, Barroso fell in love with it that he worked hard to excel in the field. He would eventually become known as the “Ballerina’s Prince” for his steadfast belief that his partner should always come first in a performance.
“I think that the number one duty of the male classical dancer is to present the ballerina well. If I can’t do that first, then my solo variations and my coda suffer because I feel I did not do the job right. I want my ballerinas to look good,” Barroso said in a past interview.
Macuja-Elizalde recalls that she first met the danseur when he danced as Hilarion to her Giselle in Act 2 of the ballet classic Giselle upon her homecoming from Russia in 1986. “I turned to him during the curtain call, which was a standing ovation, to smile and I saw him crying, overcome with emotion. I wrote in his program, ‘Next time, we will be dancing together.’ And we did.”
Osias Barroso Jr., hailed as the “Ballerina’s Prince” during his dancing years, sought to pass on what he learned and has produced many outstanding danseurs in Ballet Manila in the process.
After retiring from the stage in the mid-2000s, Barroso channeled more of his time and energy into other pursuits in dance, notably choreography and teaching. He created the neoclassical piece, In Quest, as part of Ballet Manila’s debut program in 1995 and would later also choreograph the dance-drama Gabriela ng Vigan, the children’s tale Pinocchio based on the literary classic and the romantic fantasy Ang Prinsipe ng mga Ibon in Tatlong Kuwento ni Basyang for the company. His work, Ecole, perfectly captures the progression of ballet students from novices to skilled dancers.
He also became known as “Teacher Shaz” or “Sir Shaz” to generations of students at the Lisa Macuja School of Ballet and of dancers at Ballet Manila. Known as a strict and demanding teacher, mentor and coach, he drew out the best from those in whom he saw potential.
A firm believer like Macuja-Elizalde that ballet can change lives, he led the training of batches of BM’s Project Ballet Futures scholars. With a Boys’ Class that focused on developing danseurs from a young age, Barroso was able to produce danseurs who have enjoyed productive careers. Ballet Manila, in fact, has been known to have more male professional dancers than females.
In a previous interview, Barroso noted, “I want to be an example to others. I want to teach younger dancers what I’ve learned.” He has done this not only in the Philippines but also in other counries like Indonesia, India and Taiwan where Ballet Manila has had partnerships with various dance schools.
Macuja-Elizalde, who had taught Barroso the rudiments of the Vaganova method which she learned from the Leningrad Choreographic School in St. Petersburg, praised the danseur for being a fast and lifelong learner and likened him to a sponge with a remarkable ability to absorb and retain lessons. “He’s my best student, my valedictorian,” she has described.
Macuja-Elizalde says Dance for Shaz is a way of giving back to someone who has provided inspiration to so many. “It’s time for us to give him something in return. The gift of our dancing. I know that he will treasure this performance… as it is a gift of our hearts!”
Limited general admission tickets to Dance for Shaz are available for sale. Inquiries may be made through balletmanilamarketing@gmail.com.
