Ballet Manila’s memorable moments in 2024
As if making up for lost time because of the pandemic, Ballet Manila was in full-throttle mode in 2024. The company turned out to be just as busy – if not busier – during its off season as it was during its 26th season that ran from February to August. Its schedule became particularly hectic in the last quarter with things happening quickly one after the other, if not simultaneously, with performances abroad, the world premiere of a new production, a gamut of shows in a variety of venues and its annual Christmas offering. Here’s a toast to the highlights of the year that thankfully proved that Ballet Manila – along with the rest of the performing arts – is so back!
Pioneering ‘Florante at Laura’ ballet
Ballet Manila reinforced its standing as the home of Filipino literary classics with the world premiere of its adaptation of Francisco Balagtas’ Florante at Laura – a first in ballet! Artistic director Lisa Macuja Elizalde saw to it that it would be a major artistic production, tapping no less than National Artist Ryan Cayabyab to create the music and orchestration, first-time collaborators Gerardo Francisco Jr. and Martin Lawrance to put together the choreography, and Balagtas expert, Prof. Michael Coroza, to set the proper context through the libretto.
On opening night last October 12, the 60-strong Orchestra for the Filipino Youth led by conductor Toma Cayabyab provided the music that was at turns rousing and romantic as Ballet Manila dancers breathed life to the epic poem’s iconic characters and scenes. Following its opening run at Aliw Theater and an extended run at Areté at the Ateneo de Manila University, Florante at Laura received acclaim and accolades and was honored with the Best Dance Production trophy at the recent Aliw Awards.
Florante at Laura, with principal dancers Joshua Enciso and Abigail Oliveiro in the lead roles, received the Aliw Award as Best Dance Production of 2024. Photo by Erickson Dela Cruz
First full-length classic in Indonesia
In what is believed to be the first full-length ballet presented by a professional dance company in Indonesia, Ballet Manila performed two shows of Lisa Macuja Elizalde’s Le Corsaire at Graha Bhakti Budaya in Jakarta last November. Premiered just last February, the adaptation of the pirate epic showcased highlights such as the pas de trois of Conrad, Medora and Ali, the pas de deux of Gulnara and Lankadem, the intricate variations of the Odalisques, the enthralling Naila Waltz featuring the corps de ballet, and the trademark 32 fouttés of Medora. The successful staging opens the possibility of Ballet Manila bringing its other classical productions to the neighboring Southeast Asian country.
Ballet Manila artistic director Lisa Macuja Elizalde (center, in black) and local organizers join the cast of Le Corsaire after one of two shows in Jakarta, Indonesia. Photo from Wenny Halim’s Facebook page
‘Giselle’ returns home
Since the reopening of its performance venue – Aliw Theater – in 2022 and as it has been fortifying its ranks in the post-pandemic milieu, Ballet Manila’s goal has been to return its favored classics to the stage. This year, it was extra special to have Giselle as part of the season. This was the ballet the company was to have staged in October 2019 when fire gutted the Star City complex, leading to a last-minute venue switch to the Cultural Center of the Philippines.
Finally, Giselle made its way back to Aliw Theater, with no less than Mariinsky Ballet principal dancer Renata Shakirova and soloist Alexei Timofeyev as Giselle and Albrecht, and Ballet Manila principal dancers Abigail Oliveiro and Mark Sumaylo as alternates. In these performances – where the corps de ballet was as much in focus as the leads – the company displayed its adherence to the highest standards of excellence in the classics honed through its strict Russian Vaganova training.
Mariinsky Ballet’s Renata Shakirova and Alexei Timofeyev, as Giselle and Albrecht, are supported by Ballet Manila’s corps in Giselle. Photo by Erica Marquez-Jacinto
A strong presence in Southeast Asia
Soon after wrapping up its 26th season, Ballet Manila went into a whirl of performances abroad – Ballet Manila’s Greatest Hits in Malaysia (September), Cinderella in Taiwan (October) and Le Corsaire in Indonesia (November). Renewing the ties it had already established with ballet schools and organizations in those countries before the pandemic hit has resulted in these avenues to build new audiences. By also conducting masterclasses and auditioning local talents for inclusion in the cast of each production, the company is helping nurture a younger generation of dancers across the region. These developments pave the way for a promising future where international Ballet Manila seasons may be possible.
With performances in Malaysia, Taiwan and Indonesia, Ballet Manila is building a solid reputation as a professional ballet company in Southeast Asia.
Ballet for the people
Remaining true to its mission of bringing ballet to the people, Ballet Manila brought its shows on the road to Philippine destinations in the past year. Lisa Macuja Elizalde’s Cinderella proved to be a versatile choreography, a version performed with a full Ballet Manila cast in Dumaguete City and another integrating some 200 students of Ballet Baguio with Ballet Manila guest artists in Baguio City. The company also accepted invitations for mall shows and sent dancers on guestings with ballet schools in and out of Metro Manila, while also coming up with a new edition of its popular Ballet & Ballads series and presenting its weekly shows at Star City all the way through Christmas season.
At the jampacked Claire McGill Luce Auditorium in Silliman University, the cast of Cinderella has a group photo taken with the audience who treated the dancers like rock stars – asking for autographs and having pictures taken with them after the shows.
