By Giselle P. Kasilag

While Lisa Macuja Elizalde’s Le Corsaire – Ballet Manila’s first production for its 26th performance season – is done, dusted, and relegated to the archives of the company, the show continues to weigh intensely in the minds of co-artistic associates Eileen Lopez and Gerardo Francisco Jr.

For them, the full-length ballet – a new version by their artistic director meant to enhance the pirate classic – serves as a benchmark to determine where every single dancer is at, how each one can improve, and what roles would fit them in the future productions. A live performance, after all, is that moment of reckoning where potential is set aside, and they get to see everyone’s actual capability on stage. Indeed, for the country’s premier classical company, a show – whether big or small – is not just a show. It is a point of reference to navigate the map of the dancer’s career, and what lies ahead for BM.

And what lies ahead is rosy. As rosy as the Naila Waltz which the female corps de ballet performed admirably despite the many challenges, foremost of which was the relative youth of the dancers. Only a handful of the girls are Ballet Manila veterans. The rest are new with a few having joined the company merely eight to ten weeks prior to opening night, and not all of them trained in the Vaganova method. Led by company artists Marinette Franco, whom Eileen described as “bihasa (well-versed),” and Stephanie Santiago, who officially joined BM in 2023, they pulled off an elegant living garden scene which is often considered the highlight of Le Corsaire’s Act 3.

“They did well,” Eileen acknowledged. “Of course, we can see some parts that could be better with more rehearsals but overall, they did well.”

It was the result of much blood, sweat and tears as the dancers had to deal with correction after correction, ranging from something as major as movement to as minor as hand gestures. She could feel the fear among the girls every time she called everyone to gather while she listed what needed to be changed. 

“But after the show, iba na nu’ng tinawag ko sila (it was different when I called for them to gather),” shared Eileen. “‘Girls, good job! You can go.’ Nagulat sila (They were shocked)! They asked, ‘Teacher Eileen, paano ’ yung (what about the) corrections?’ I told them we can do that tomorrow. They can rest now. They were so happy!”

The task of polishing the corps has been a long-time task for Eileen, who was rehearsal mistress alongside the late Osias Barroso Jr. as rehearsal master and who was also co-artistic director. Both she and Geri expressed how much they missed having Teacher Shaz around for Le Corsaire, and how they have been feeling the weight of responsibility on their shoulders in supporting their artistic director to ensure the dancers adhere to the exacting standards of the classics.

For the co-artistic associates, the opening night truly belonged to the principal dancers. Eileen noted in particular the performance of Abigail Oliveiro who was Medora. “Her presence was so strong that people in the audience gasped when they saw her first appear on the balcony.”

Geri agreed, citing how elegant her execution was, and how beautifully fellow principal dancer Shaira Comeros complemented Abigail’s performance as her Gulnara. The pair moved with the same sophistication and grace.

He also pointed out how much principal dancer Mark Sumaylo’s Conrad has evolved since his last portrayal in 2018. “Ibang-iba siya! ’Yung talon, ’yung turns, Maganda! (He’s so different! The jumps, the turns were so good!),” Geri remarked, happy that the senior dancer has not stopped seeking ways to improve himself. “’Yan ang maganda kay Mark at Abi. Nasa music sila. Nakikinig! Nakikinig sa music at sa corrections, tapos ina-apply nila. Alam na alam nila ’yung character kaya tama ’yung pag-mime nila.” (That’s what’s good with Mark and Abi. They’re in tune with the music. They listen! They listen to the music and the corrections, then they apply it. They know their characters, so their miming is correct.) 

Technique factored heavily in the performances of principal dancers Jasmine Pia Dames and Romeo Peralta Jr. who debuted as Medora and Conrad for the second show of Corsaire. They made the characters their own and Geri sees them growing more into the roles in future performances. The duo also showed their strength and versatility in assuming other parts when they weren’t dancing the leads, she as one of three Odalisques showcased in Act 1 and he as the ally-turned-traitor Birbanto.

But for Geri, it was his alternate, principal dancer Joshua Enciso, who was the revelation of the show. Joshua took on the role of the loyal slave Ali (which Geri has been performing since 2004) for the first cast and Birbanto for the second cast. He danced the polar opposite roles to stunning results.

“Nagawa niya lahat (He was able to do everything),” said Geri. “Mataas ang talon, malinis ang mga turns. Malakas ang performance!” (The jumps were high, the turns were clean. The performance was strong!)

To which Eileen added: “I never really saw him before as someone who can be a villain. Prince kasi siya – matangkad, pino kung kumilos, maamo ’yung mukha. Pero as Birbanto, napaniwala niya ko!” (He’s a prince – tall, refined in his movements, with a kind face. But he made me believe he was Birbanto!)

But the skillful performance was the result of a lot of hard work. As a young dancer, Joshua tended to pack in as many tricks as he could into his variations. Geri had to reign in the younger danseur’s eagerness, explaining that it was choreographed that way for a reason. That the dance was in service of the story. Furthermore, that he would need the strength to last the entire ballet so he should not pour everything into a single variation. Enlightened, Joshua heeded Geri’s advice and the result was a solid performance for both roles.

Staying true to the choreography is one major lesson that the co-artistic associates are trying to hammer into the dancers, especially with classical ballets. These pieces survived centuries for a reason. While dancers may infuse their personalities into the roles, they should strive to perform as the choreographer intended the pieces to be danced.

This is why they were both pleased with the performance of soloist Anselmo Dictado. As the villainous slave trader Lankadem, he danced his variation as close to the version that Ballet Manila performed when it premiered Le Corsaire in 1998 which was a first in Asia.

They do recognize that change is necessary. Thus, they were fully supportive of the adjustments that artistic director Lisa Macuja Elizalde made to this version of Le Corsaire.

“It made more sense,” said Eileen. “The girls are not so helpless. Hindi sila shonga!” (They’re not stupid!)

Geri loved how more characters were given opportunities to shine, with each having a more fleshed out story arc. It became a showcase for both technique and artistry. They were able to identify rising talents among those who took advantage of this change such as company artist Noah Esplana who alternated as Lankadem, and apprentice Shamira Drapete who danced as one of the Bedouin women. Though Geri managed to still dance as Ali – which he first performed with Ballet Manila twenty years ago – he also welcomed the chance to play Pasha which is now a dancing role and not just miming.

But as every member of the Ballet Manila family knows, there is no time to bask in their success. After the congratulations and words of encouragement, it is back to the barre for everyone because the lineup for the year is full and the repertoire is challenging.

Continuing with the season, the company is currently preparing for the May shows of Tatlong Kuwento ni Lola Basyang which consists of three mid-length ballets based on stories by Severino Reyes as retold by Christine Bellen-Ang: Osias Barroso Jr.’s Prinsipe ng mga Ibon, Lisa Macuja Elizalde’s Ang Kapatid ng Tatlong Marya, and Tony Fabella’s Ang Mahiwagang Biyulin.

This will be followed in August by Giselle, a Ballet Manila warhorse it last performed in 2019. After the fire that hit the Star City Complex where BM’s home theater, Aliw, is located, Ballet Manila had to move to the Cultural Center of the Philippines to be able to stage three shows of Giselle. Its return to Aliw Theater is not just a full circle moment but a statement that the company has put behind the tragedies of the last four years – including the pandemic and its long-drawn lockdowns – and is now looking ahead into the future.

It is with this thought that the two co-artistic associates are embracing their roles in helping to strengthen the company. Echoing what Lisa and Shaz had instilled in pioneers like her when the company started in 1995, Eileen stressed the importance of passing on the values espoused by Ballet Manila – respect, hard work and discipline, among others – to the younger generations.

“It’s not enough that they’re good dancers. They have to be good people too,” she said.

“Mataas ’yung standards nila Ma’am Lise at Sir Shaz,” added Geri. “Napaka-importante na ma-uphold ’yun at maipasa sa next generation. Kasi, kami ’yan. ’Yan ang BM.”