Ballet Manila brings back Balagtas’ epic ‘Florante at Laura’ to the stage
The intense rivalry between Sultan Ali-Adab and son Aladin as they fight over Flerida is once again brought to life by principal dancer Mark Sumaylo, soloist Noah Esplana and principal dancer Stephanie Santiago. Photo by Erickson Dela Cruz
By Leah Salterio
When Ballet Manila brings back its original Filipino ballet, Florante at Laura, to Aliw Theater this weekend, audiences can expect to experience the same vital elements that made it such a stand-out production on its world premiere last year: The Orchestra for the Filipino Youth, under the baton of Toma Cayabyab, playing National Artist for Music Ryan Cayabyab’s composition that has a range lending itself so well to the choreography of Gerardo Francisco Jr. and Martin Lawrance – from the tender melodies for the pas de deux of the lead characters to the pulsating beats powering the battles that unfold in the show.
Principal dancers Joshua Enciso and Abigail Oliveiro reprise their title roles in Ballet Manila’s Florante at Laura, the first dance adaptation of the well-known Balagtas epic. Photo by Erickson Dela Cruz
The first ballet adaptation of Francisco Balagtas’ epic poem, using a libretto written by Dr. Michael Coroza, Florante at Laura was described by a critic as “a moving experience rich in cultural wisdom and literary depth” shortly after its debut in 2024.
“I guess Florante at Laura is a ballet that I want to stage every year, if possible,” says Ballet Manila artistic director Lisa Macuja Elizalde, noting though that the costs involved would be too expensive. “It’s something that, I think, every Filipino should watch. It’s an epic ballad. It’s timeless. Whether you studied Florante at Laura or are just about to learn it in school, it’s just a part of our Filipino literature and history.”
Macuja Elizalde points out that while the story is set in such places as Albania and Athens, the themes that it tackles are universal – love, loyalty, patriotism, even treachery. “What’s beautiful with the story of Florante at Laura, is they show that whether you’re Muslim or Christian, you’re a person and you have feelings. Whether you have a different faith or not, you still go through life with the same challenges and trials.”
Visual cues help tell the story, with the color green attached to the traitor Adolfo (principal dancer Romeo Peralta) and his minions. Photo by Erica Marquez-Jacinto
While the Balagtas epic has many different subplots, the ballet is anchored on the story of the four main characters that the poet created – Florante, Laura, Aladdin and Flerida. The literary classic also told of several battles numbering as many as 15 which have been synthesized into highlights in the dance adaptation.
“What’s beautiful about it is the ballet just flows. The audience will easily understand the story of Florante at Laura because it’s very visual,” Macuja Elizalde says, also noting that the color scheme used for the costumes serves as visual cues to distinguish kingdoms or affiliations among the characters.
She adds that the set design has been done to look like an arena that complements Aliw Theater and the set of designer Mio Infante. “So basically, when you’re watching it, the feeling is like you are in a coliseum, and you’re enrapt with the story,” says Macuja Elizalde.
Battles figure prominently in Florante at Laura, and come alive with the dynamic performance of the Ballet Manila corps. Photo by Giselle P. Kasilag
Cayabyab’s music which is crucial to the storytelling features a long, lush overture. The Orchestra of the Filipino Youth recording of the Florante at Laura music, with Gerard Salonga as conductor, has been digitally released on Spotify, Apple Music, YouTube Music, Amazon Music, TIDAL, and other platforms, and is touted as a milestone in cultural preservation and a celebration of the next generation of Filipino musicians.
For this year’s restaging, the ballet will have two casts. Principal dancers Joshua Enciso and Abigail Oliveiro are returning in the title roles of Florante and Laura which will also be played by soloist Rafael Perez and company artist Shamira Drapete. Principal dancers Mark Sumaylo and Stephanie Santiago will reprise their roles as Sultan Ali-Adab and Flerida, with principal dancer Jessica Pearl Dames and soloist John Balagot as their counterparts in the second cast. Soloist Noah Esplana will be Aladin while principal dancer Romeo Peralta will be Adolfo for the two casts.
Florante at Laura has been added to Ballet Manila’s growing list of adaptations of Filipino literary classics. The company’s Tatlong Kuwento ni Lola Basyang and its sequel, Tatlo Pang Kuwento ni Lola Basyang, are based on the timeless stories of Severino Reyes as retold by Christine Bellen-Ang. Gerardo Francisco Jr. also transformed Ibong Adarna, about the mythical bird with a healing voice, into a full-length ballet in 2017. Ballet Manila also adapted into dance author Ed Maranan’s nature-themed children’s book, Si Sibol at Si Gunaw.
Blue is the color associated with the Kingdom of Albania, with principal dancer Abigail Oliveiro portraying the princess Laura, the daughter of King Linceo. Photo by Erica Marquez-Jacinto
Macuja Elizalde says turning another gem of Philippine literature into a ballet is not far-fetched. “Part of the mission of Ballet Manila is to make original Filipino productions. There’s the wish to stage Noli Me Tangere and El Filibusterismo for a full-length ballet in the future.”
Florante at Laura goes on stage at Aliw Theater, Pasay City, on: October 3, Friday, 8 p.m.; October 4, Saturday, 5 p.m.; and October 5, Sunday, 5 p.m. Tickets are available exclusively at TicketWorld through the following direct link: https://bit.ly/BuyTicketsFatL2025
See also:
‘Florante at Laura’ in the key of Mr. C
Ballet Manila’s dance adaptation of literary classic ‘Florante at Laura’ in the works
