This Month in BM History: March 2015
The Paquita Divertissement reflects Ballet Manila’s adherence to the highest standards of classical ballet. Photo by Ocs Alvarez
In 2015, Ballet Manila celebrated its 20th anniversary with a repertoire that summarized five things that the company has stood for since its inception.
Annabelle Lopez Ochoa’s Asian-inspired Bloom was headlined by Mark Sumaylo and Dawna Mangahas. Souvenir program from the Ballet Manila Archives collection
Artistic director Lisa Macuja Elizalde discussed this list in the souvenir program for BM 2.0 where she pointed first to the highest standards of classical ballet as the goal that Ballet Manila aspired for and striven to adhere to. This was represented by the opening number, Paquita Divertissement, a staple in the company’s earliest performances which particularly showed off the technical refinement of the corps de ballet.
Next, in a nod to how members of the BM family have made waves in the international scene, the program featured its former principal dancer Christine Rocas – who had joined the Joffrey Ballet – as guest artist.
Then, in its continuing effort to always present something new, BM also had a world premiere in its program – award-winning choreographer Annabelle Lopez Ochoa’s soulful Bloom which reflected Asian inspirations.
Osias Barroso Jr.’s Ecole serves as the finale. Photo by Ocs Alvarez
Christine Rocas of the Joffrey Ballet performs Christopher Wheeldon’s After the Rain with regular partner Rory Hohenstein. Photo by Ocs Alvarez
The company also reaffirmed its commitment to bringing ballet to the people and people to ballet through OPM fare. For BM 2.0, this was shown in resident Gerardo Francisco Jr.’s Tara Let’s, a colorful and festive piece that had just been performed for delegates of the Asia-Pacific Economic Cooperation the previous December.
Finally, BM’s aim of nurturing the next generation of talents was reinforced with a performance of Osias Barroso Jr.’s Ecole that shows the progression of dancers from beginners to skilled artists through a steady slate of ballet classes. “This enduring piece is a perfect vehicle both to look back and move forward with into the next 20 years,” Macuja Elizalde wrote in her director’s notes.
Critic Marge Enriquez reviews BM 2.0 for the Philippine Daily Inquirer. Clipping from the Ballet Manila Archives Collection
