Florante at Laura, the ballet
Ballet Manila artistic director Lisa Macuja Elizalde (fourth from left) leads the media conference for the company’s Florante at Laura. With her are (from left): Orchestra of the Filipino Youth executive director Mickey Muñoz, set designer Mio Infante, conductor Toma Cayabyab, National Artist for Music Ryan Cayabyab, co-choreographers Gerardo Francisco Jr. and Martin Lawrance, libretto consultant Michael Coroza, and costume designers Otto and Therese Hernandez of Make It Happen Workshop. In the foreground are (from left): Ballet Manila company artist Noah Esplana, Stephanie Santiago, Abigail Oliveiro and Joshua Enciso.
Ballet Manila unveils its adaptation of the literary classic Florante at Laura on October 12, 13 and 19 at Aliw Theater, with the choreography of Gerardo Francisco Jr. and Martin Lawrance, the music of National Artist Ryan Cayabyab and the artistic direction of Lisa Macuja Elizalde.
To usher in this world premiere, balletmanilaarchives.com is running a series of articles about the Francisco Balagtas masterpiece to give context to the story and its characters and to underscore its continuing relevance today, almost two centuries after it was first published. The series is written by Michael M. Coroza, PhD, who served as libretto consultant to the production. He is a full professor and former chair of the Department of Filipino, School of Humanities, Ateneo De Manila University, and is also chairman of the Unyon ng mga Manunulat sa Pilipinas (UMPIL).
Ballet Manila’s Florante at Laura creates a new dimension of appreciation and understanding of the epic poem, including explorations of power as in this scene where Florante (Joshua Enciso, right) and his men battle Heneral Osmalik (John Balagot). Photo by Giselle P. Kasilag
By Michael M. Coroza
(Seventh and last of a series)
Like any of the world's most revered works of literature, Florante at Laura offers a profound analysis of the cause and effect of complex social and political relationships. The struggle between Florante and Adolfo, and Aladdin and Sultan Ali-Adab – born of envy and greed – mirrors humanity's problems then and now. This intellectual stimulation, manifested in the intricate character dynamics and the exploration of power and morality, is vital to the work's enduring appeal.
Florante at Laura transcends its historical context to address universal and timeless themes such as love, betrayal, and redemption. In this scene from Ballet Manila’s adaptation, principal dancers Joshua Enciso and Abigail Oliveiro as Florante and Laura lead the festivities as they are crowned King and Queen. Photo by Giselle P. Kasilag
Indeed, Balagtas' masterpiece, deeply rooted in the Filipino colonial experience of the 19th century, doesn't just belong to the past; it transcends its historical context to address universal and timeless themes such as love, betrayal, and redemption. The philosophical and moral impact of Florante at Laura doesn't just resonate with its initial readers, including national heroes like Jose Rizal, Andres Bonifacio, and Apolinario Mabini; it extends beyond, resonating with anyone with a critical consciousness today, connecting them to the work's historical context in a way that feels immediate and relevant.
Ballet Manila's performance of Florante at Laura is not just a dance but a profoundly moving and inspiring artistic achievement. The zestful and passionate body movements, choreographed by Gerardo Francisco Jr. and Martin Lawrance and accompanied by the original music of National Artist Ryan Cayabyab, don't just tell a story. They capture human relationships, swinging aspirations, grief, and glory, creating a new dimension of appreciation and understanding of Balagtas' masterpiece.
The live music, with its dramatic shifts in tone and tempo, as performed by the Orchestra of the Filipino Youth under the baton of Toma Cayayab, doesn't just set the mood. It is an integral part of the performance, enhancing the emotional impact and allowing viewers to delve deeper into the core of their personhood, whether Filipino or foreign, in a deeply engaging way.
For the author Michael Coroza (right, with choreographers Gerardo Francisco Jr., left, and Martin Lawrance at the Florante at Laura media conference), the task as libretto consultant was to ensure that the essence of Balagtas' masterpiece was preserved in the ballet.
For the first time in early January 2024, at the initiative of Ballet Manila artistic director Lisa Macuja Elizalde, the two choreographers met with this writer, who volunteered to be the libretto consultant. In this crucial role, we provided insights and guidance covering all aspects – philosophical, social, and political – not excluding the colonial influences and implications on best translating the literary work into a dance performance. The task was to ensure that the essence of Balagtas' masterpiece was preserved in the ballet and that the choreography and music effectively conveyed the story and its themes. This collaboration, which brought together the choreographers' expertise and this writer’s literary insights, is a testament to the collective effort to create a world-class performance based on a Filipino literary classic.
After several intense meetings, the trio crafted a ballet libretto with three acts, which they presented to National Artist Ryan Cayabyab in February. The libretto has scenarios and time durations for each movement, allowing “Mr. C” to compose the music freely. Nine months later, equivalent to the full development of an embryo into a baby, the first grand ballet rendition of Balagtas' Florante at Laura premiered on October 12 at Aliw Theater.
The pas de trois in Act 2 is a powerful dance conveying the complex dynamics of the ties between father and son Sultan Ali-Adab (Mark Sumaylo, left) and Aladin (Noah Esplana), and the woman they are fighting over, Flerida (Stephanie Santiago). Photo by Giselle P. Kasilag
Act 1 opens with Florante tied to a higera tree at the center. Filled with anguish and suffering, he laments the evil happenings in the Kingdom of Albania. The scenes that follow are: the Battle of Crotona, where Florante is hailed as a hero for the first time; the introduction of the royalties of Albania and its conquest by the army led by the Persian prince Aladin; the liberation of Albania from the Moros and King Linceo's declaration of Florante as the "Defender of Albania"; a flashback of the events in Atenas resulting in the intense rivalry between Florante and Adolfo; the usurpation of King Linceo's power by Adolfo with the help of the townspeople that he deceives; the capture of Florante who goes home to Albania alone as ordered in a letter by the hoax King; the heroic act of Aladin in saving Florante from the two lions that are about to devour him.
Act 2 focuses on the stories of Aladin and Flerida and the conflict between Sultan Ali-Adab and Aladin, highlighted by a pas de trois by these three characters from the Kingdom of Persia. This pas de trois is a powerful and emotive dance that conveys the complex dynamics of the relationship between father and son Sultan Ali-Adab and Aladin. The act also features Sultan Ali-Adab's victory dance, a celebratory and triumphant dance that reflects his belief that his power prevailed as he succeeded in snatching Flerida from his son Aladin.
The virtues of loyalty and bravery are exemplified by the character of Menandro (Anselmo Dictado), the best friend of Florante who fights alongside and for him in the epic poem. Photo by Giselle P. Kasilag
Act 3 begins with the flashback revealing the deal Flerida entered into with Sultan Ali-Adab to save her beloved Prince Aladin from decapitation. The following scenes are Flerida's fabled escape wearing a male warrior's uniform and her rescue of Laura from the hands of Adolfo, the recollection of Laura on what transpired in Albania the night Adolfo fled to the forest with her, the reclamation of Albania by the army led by Menandro, and finally, the festive crowning of Florante and Laura as the new Heaven-appointed King and Queen.
After its first-ever ballet adaptations of Filipino literary treasures such as the Lola Basyang stories of Severino Reyes and the epic Ibong Adarna, Ballet Manila has made history once again with the staging of Florante at Laura. This production, set to captivate audiences locally and internationally, is a unique collaboration of talents. It has provided a new way for recognizing and appreciating the genius of Francisco Balagtas, making him indeed a global Filipino writer. With the music of National Artist Ryan Cayabyab, the choreography of Gerardo Francisco Jr. and Martin Lawrance, other key elements such as the set design by Mio Infante, lighting design by John Batalla and costume design by Make It Happen Workshop, and the significant artistic direction and inspiration by Lisa Macuja Elizalde, this new ballet will undoubtedly become a staple in Ballet Manila’s repertoire for a long, long time, bringing pride to our local arts scene and fostering a sense of excellence and pride as creative Filipinos.
In Balagtas' own words, we wish all the beautiful, lovely souls involved in this remarkable production, "Mabuhay!”
