Ballet Manila’s ground-breaking adaptation of the Balagtas literary masterpiece Florante at Laura – showcasing action-packed battle scenes done cinema-style and a series of romantic pas de deux and dramatic pas de trois – won the Aliw Award for Best Dance Production in ceremonies held at The Manila Hotel Wednesday night.

In accepting the award, co-choreographers Gerardo Francisco Jr. and Martin Lawrance each acknowledged the crucial role of the dancers in making the first-ever ballet version of Florante at Laura a reality.

“Special thanks to the dancers of Ballet Manila for their beautiful dancing and commitment, without whom this ballet would have not come to life,” Lawrance said.

Francisco, for his part, praised them for their hard work and dedication. In addition, he cited the production team “for keeping up with our demands.”

Both expressed gratitude to Ballet Manila artistic director Lisa Macuja Elizalde for entrusting Florante at Laura to them, and Ballet Manila patron Fred J. Elizalde without whose continuous support, Lawrance said, the production would not have been possible.

The two also tipped their hat to each other. Turning to Lawrance, Francisco said, “Thank you for accepting the challenge with me.” Lawrance responded in kind, thanking Francisco “for an amazingly seamless collaboration and journey.”

It was the first time that the two had worked together as choreographers, after each having done full-length ballets for Ballet Manila. Francisco, also the company’s co-artistic associate and principal dancer, created Ibong Adarna in 2017 while British guest artist Lawrance launched Rebel in 2016 and Romeo & Juliet in 2023.

With the music and orchestration of National Artist Ryan Cayabyab, Florante at Laura premiered last October 12 at Aliw Theater. The 60-strong Orchestra for Filipino Youth, under the baton of Maestro Toma Cayabyab, performed the music. A full complement of artists completed the production, including Mio Infante for set design, John Batalla for lighting design and Make It Happen Workshop for costume design.

The production opened to positive reviews. Dance critic Marge Enriquez wrote in the Inquirer: “Through a blend of music, dance and visual arts, the ballet transforms the story into a moving experience rich in cultural wisdom and literary depth. The unexpected turns of the plot are sure to keep audiences captivated.”

Florante at Laura then had a performance run at Areté at Ateneo De Manila University last November, playing to a theater packed mostly with students.

The main cast for the world premiere and the extended run consisted of principal dancers Joshua Enciso and Abigail Oliveiro as Florante and Laura, principal dancer Romeo Peralta as Adolfo, principal dancer Mark Sumaylo as Sultan Ali-Adab, soloist Stephanie Santiago as Flerida, company artist Noah Esplana as Aladin, and soloist Anselmo Dictado as Menandro.

The dance adaptation was crafted with the guidance of libretto consultant Michael Coroza who is a specialist on Francisco Balagtas and Florante at Laura. In a previous interview, the Ateneo professor pointed out that while the epic poem is based on Filipino colonial experience in the 19th century, its subject is universal and enduring.

“Laging may bisang pilosopiko at moral ang Florante at Laura sa mga mambabasa nito mula kina Rizal, Bonifacio, at Mabini hanggang sa sinumang may kritikal na kamalayan sa kasalukuyan.” (Florante at Laura will always have a philosophical and moral sway among its readers, from Rizal, Bonifacio, and Mabini to anyone who has a critical consciousness at present.) 

He also said Ballet Manila’s adaptation of Florante at Laura into dance is a must-watch as it offers a new approach to a classic. “Sa madamdaming galaw ng katawan sa saliw ng musikang inspirado ng nagsasalimbayang lunggati, pighati, at luwalhati ng mga ugnayan ng tao, isang bagong dimensiyon ng pagpapahalaga at pag-unawa sa dakilang akda ni Balagtas ang nabibigyang-daan. Higit na makapapaloob ang mga manonood sa kaibuturan ng pagdalisay sa sariling pagkatao, banyaga man o Filipino.” (Through emotional movements set to music inspired by interwoven desire, sorrow, and glory in human relations, another dimension of appreciation and understanding of Balagtas’ work is given way. It will be a chance to involve viewers more in assessing the core of their own humanity, may they be foreign or Filipino.)