Ties that bind: Ballet Manila wows audiences in Malaysia
Principal dancers Abigail Oliveiro, Mark Sumaylo and Joshua Enciso led the cast of Lisa Macuja Elizalde’s La Traviata which made its Malaysian premiere. Photo by Giselle P. Kasilag
By Giselle P. Kasilag
Ballet Manila founder and artistic director Lisa Macuja Elizalde has always been a firm believer in the power of dance to unite people and build relationships. Ballet Manila’s Greatest Hits, a showcase of the company’s most iconic choreographies, delivered this and more during the company’s recent performance series at the Petaling Jaya Performing Arts Center in Kuala Lumpur last September 6 to 8.
The Ballet Manila family with partner-organizers in Malaysia after the show: Coming up next is Cinderella. Photo by Larry Salgado
The event was part of the festivities commemorating the 60 years of diplomatic relations between the Philippines and Malaysia. This milestone was fittingly celebrated with Ambassador Maria Angela Ponce stressing the importance of the arts in strengthening the ties between the two countries and more, noting the attendance of diplomats from other countries during the opening night.
The ties between Philippines and Malaysia were literally presented on stage when 18 Malaysian dancers performed alongside the dancers of Ballet Manila in two choreographies: excerpts from Don Quixote, and Dancing to Verdi. For the latter, Macuja Elizalde expanded the piece by creating a new choreography for the Malaysian ballerinas while the company performed the original choreography by Tony Fabella.
She explained that this performance series was the result of the efforts of BM’s artistic team and production team, and DanceLink Performing Arts in Kuala Lumpur headed by its artistic director Alfren Salgado. Video conferencing, quick trips to KL, and multiple email and messaging threads allowed her to audition the dancers and teach the choreography. Salgado handled the rehearsals and when the BM delegation arrived, it was all a matter of putting the pieces together.
The Don Quixote Grand Pas De Deux featuring principal dancer Jasmine Pia Dames and company artist Noah Esplana was one of the most applauded numbers. Photo by Larry Salgado
Salgado and his wife, Violet Hong, represent another connection that has only become stronger through the years. Salgado was a former soloist of Ballet Manila while Hong was a company artist. They moved to Kuala Lumpur, where Violet is from, and established DanceLink Performing Arts where they teach ballet using the Vaganova method that they learned from Macuja Elizalde. Through the years, dancers and teachers from Ballet Manila have been invited to teach in the school (most recent of whom was co-artistic associate Eileen Lopez). Its students have been fixtures in ballet competitions, attesting to its growing reputation of excellence.
The running entrance of Augustus Damian III’s Reconfigured — featuring 16 male dancers —took the audience by surprise. Photo by Gisele P. Kasilag
All these, Salgado said, was from God’s grace and the training he received from Macuja Elizalde and the late Osias Barroso Jr., BM’s former co-artistic director.
“I always go back to my training from Ma’am Lisa and Sir Shaz. It’s from them and BM. And now I’m giving back. Tinuturo ko ’yung natutunan ko (I’m teaching what I learned),” he reiterated.
That training was in full force when Ballet Manila took the stage. Ballet Manila’s Greatest Hits marked the Malaysian premiere of Macuja Elizalde’s La Traviata featuring principal dancers Abigail Oliveiro and Mark Sumaylo as Violetta and Alfredo. The effect on the audience was instantaneous. The applause was loud and long. Furthermore, the ballet students in the audience could be seen emulating Oliveiro’s movements during the intermission. Asked after the show, one guest talked about being pleasantly surprised with the ability of dance and gestures to tell a story so clearly and convey emotions so adequately.
One of the most applauded numbers was the Don Quixote Grand Pas De Deux featuring principal dancer Jasmine Pia Dames, company artist Noah Esplana and dancers from Malaysia. There was a strong interest in the classical choreographies and an appreciation for the technique that Pia and Noah exhibited in their Kitri and Basilio.
In Sotto Voce, the female corps displayed subtle elegance and understated strength as they stayed on pointe for the entire piece. Photo by Giselle P. Kasilag
The male corps de ballet also received its fair share of applause. The running entrance of Augustus Damian III’s Reconfigured took the audience by surprise. The lack of male classical dancers is a problem shared by ballet communities all over the world. Having 16 men on stage moving in unison for a choreography that blended contemporary steps with classical techniques was a stunning sight that the guests truly appreciated.
The female corps de ballet also had their moment with Damian’s other piece, Sotto Voce. Featuring newly promoted soloist Stephanie Santiago and company artists Ana Graciela Andes, Elyssabeth Apilado, Eva Chatal, Shamira Drapete, and Francesca Raypon to the music of Pachelbel’s Canon in D Major, it was a subtle display of elegance and understated strength as the women stayed on pointe for the entire piece.
One choreography that had the audience gasping was National Artist for Dance Agnes Locsin’s Sayao sa Pamlang, with soloist Rissa May Camaclang in the lead. Photo by Larry Salgado
One choreography that had the audience etc gasping was National Artist for Dance Agnes Locsin’s Sayao sa Pamlang. On three of the four performances, the audiences could be heard reacting strongly the moment the lights go on to reveal the line of men carrying bamboo poles gently giving way to the Pangalay performed by soloist Rissa May Camaclang.
Jessica Pearl Dames and Romeo Peralta Jr. perform Arachnida, a dance interpreting mating spiders that left audiences mesmerized. Photo by Larry Salgado
Locsin’s other piece, Arachnida, performed by principal dancer Jessica Pearl Dames and Romeo Peralta Jr., was a testament to Ballet Manila’s versatility. Unapologetically contemporary, this piece on the mating ritual of spiders left the audiences mesmerized with its predatory movements expressed in an exquisite manner.
The performance closed with Tony Fabella and Lisa Macuja Elizalde’s Dancing to Verdi led by principal dancers Shaira Comeros and Joshua Enciso. The epic finale — one of the most challenging pieces in Ballet Manila’s arsenal — showcased the company’s grace, power, and mastery of technique. The applause, cheers, and at times, whistles, clearly pointed to the enjoyment of the audience and an appreciation of the artistry of both the Filipino and Malaysian dancers dancing their hearts out on stage.
Malaysian dancers were also part of Ballet Manila’s performance series in Petaling Jaya. Photo by Giselle P. Kasilag
While the curtains have fallen and the lights have been switched off, the task to build relationships and strengthen ties is far from over. Even before the first show opened, serious talks were being held for Ballet Manila to return in 2025.
“A ballet dancer’s work is never done!” declared Macuja Elizalde. “We continue to always take class, train, and push our bodies to the limit in order to perform effortlessly on stage.”
And if the stars align, the Malaysian audience may be seeing Ballet Manila perform effortlessly once again one day soon.
Tony Fabella’s Dancing to Verdi, one of the most challenging pieces in the Ballet Manila arsenal, was headlined by principal dancers Shaira Comeros and Joshua Enciso. Photo by Larry Salgado
