The Ballet Manila Archives is the repository of documents, print, photographic, audio and video materials and memorabilia relating to the history of Ballet Manila and the life and career of its founder, prima ballerina Lisa Macuja-Elizalde. This site is powered by Ms. Elizalde and Project Art, Inc.
Fathers come in all sorts of shapes and sizes, some bearing noble intentions and others seething with hatred and jealousy. Ballet Manila has depicted a wide range of patriarchs, possessing different characters and driven by various motivations. As we observe Father’s Day, we take a look at these paternal figures who have graced the stage and made their mark for good or bad.
Teong (Romeo Peralta, third from left), together with his wife Goya (Judith Po, to his right) is jubilant as his whole family is reunited at last in this scene from Ang Kapatid ng Tatlong Marya in Tatlong Kuwento ni Lola Basyang (2024). In the story, the three daughters Marya Loleng (Stephanie Santiago), Marya Trining (Jessa Balote) and Marya Upeng (Rissa May Camaclang) are spirited away to different kingdoms and the youngest son Pedro (Sean Pelegrin) must embark on a quest to bring them home. Photo by Giselle P. Kasilag
In a span of nine minutes, choreographer Gerardo Francisco Jr. conveys the depth of paternal love through the contemporary piece OFW (2009) in Halo Halo Extra Special. Standing for “overseas Filipino worker,” OFW portrays the struggles two fathers (Rudy De Dios and Gerardo Francisco Jr.) have to go through to provide for their family – working far from home, taking on hard labor, enduring prolonged separation from loved ones, and in some cases, even paying the ultimate sacrifice. Photo by Ocs Alvarez
There is no love lost between father and son Sultan Ali-Adab (Mark Sumaylo) and Aladin (Noah Esplana) in Florante at Laura (2024), the first-time ballet adaptation of the literary masterpiece written by Francisco Balagtas. The enmity is evident in every face-to-face encounter, with the sultan – relentlessly cunning and ruthless – even making a play for Aladin’s partner Flerida. Photo by Giselle P. Kasilag
Juliet (Abigail Oliveiro) begs her father, Lord Capulet (Nonoy Froilan), not to force her to marry Paris, his choice for her as a partner, after having already fallen for Romeo. True to the Shakespearean tale, the father remains adamant in Paul Vasterling’s version of Romeo and Juliet (2015). Juliet eventually goes against his father’s wishes, leading to twin tragedies. Photo by Ocs Alvarez
Pinocchio (Alvin Santos), a puppet-come-to-life, becomes like a son to the woodcarver Geppetto (Jonathan Janolo), faithfully interpreted in Osias Barroso Jr.’s adaptation of the novel into the ballet Pinocchio (2004). The mischievous puppet gets into all sorts of misadventures and meets a variety of vile characters. In the end, Pinocchio realizes the error of his ways and is transformed by the Blue Fairy into a real boy, thereafter reuniting with the man he looks up to as a father. Photo by Ocs Alvarez
In this scene from Florante at Laura (2024), King Linceo (Mark Sumaylo, right) commends Florante (Joshua Enciso) for overcoming hostile forces in a battle fought in the name of Albania. Standing behind Florante is his father, the royal adviser Duke Briceo (John Balagot), who understandly beams with pride as his son completes another heroic feat. Photo by Giselle P. Kasilag
The Rajah Dugmanta (Marcus Tolentino, center) approves of the union between his daughter Gamzatti (Mylene Aggabao) and the warrior Solor (Rudy De Dios) in La Bayadere (2013). But when they learn that Solor has already promised himself to Nikiya, the Rajah and Gamzatti plot against the temple dancer, planting a poisonous snake in the basket of flowers Gamzatti is to carry during her performance. Photo by Ocs Alvarez
