Literature has always been a rich source material for ballet. In 2015, Ballet Manila decided to gather a slate of productions based on literary gems to make up its 20th performance season which was aptly dubbed “From Page to Stage.”

Tatlong Kuwento ni Lola Basyang, Ballet Manila’s blockbuster that premiered in 2008, was to open the season in August. The trilogy based on the works Severino Reyes, the author behind famed storyteller “Lola Basyang,” was once again set to captivate audiences – the romance of Prinsesa Singsing and the Bird Prince in Ang Prinsipe ng Mga Ibon, the fantasy-adventure Ang Kapatid ng Tatlong Marya where Pedro must search for his three bewitched sisters, and the fusion of comedy and enchantment in Ang Mahiwagang Biyulin with honest worker Rodrigo turning the tables on devious employer Ahab.

For classical fare, Ballet Manila was to perform a new version of Romeo & Juliet, based on William Shakespeare’s most popular works. Making its Asian premiere, the adaptation by Paul Vasterling was meant to capture the essence of the original tragedy, with the story of the star-crossed lovers told through evocative movement, daring swordfights, and lavish costumes.

For the holiday offering, Osias Barroso Jr. expanded on his choreography of C. Collodi’s Pinocchio to become a full-length presentation. The two-act ballet was to feature more magical characters, brand new sets and costumes as it portrayed the well-known story of the carpenter Gepetto and his wooden puppet Pinocchio who – through adventures and misadventures – transforms into a little boy.

Finally, to cap the season, the themes of the historical novel Spartacus were to be played out against the backdrop of the 1986 People Power Revolution through the choreography of Martin Lawrence. Rebel was to be a novel mash-up, utilizing the lush, rich symphonic score of Khachaturian to heighten the powerful drama and spectacular dancing.