Bonded by ballet: The Peraltas on safeguarding company tradition and helping mold the next generation of dancers

***In 2012, Sofia Sangco-Peralta and Romeo Peralta danced the lead roles in Hazel Sabas-Gower’s Sinderela, a retelling of the popular fairy tale with a Pinoy twist. Photo by Ocs Alvarez***

By Jv Ramos

Behind every successful dancer are many mentors that help one navigate growing up in the studio and in the world of professional ballet. With 30 years under its belt, Ballet Manila has produced mentors familiar with the struggles of not being able to do a combination, balancing schoolwork with ballet training, experiencing a busy tour schedule as part of the company, and dancing the main roles in full-length classical pieces.

Starting out as dance scholars, Sofia Sangco-Peralta and Romeo Peralta have grown up with Ballet Manila and have been using their experience to help mold new generations of dancers. Photo by Giselle P. Kasilag

Among these experienced mentors is the Peralta couple: Sofia Sangco-Peralta, assistant director and faculty member of the Lisa Macuja School of Ballet and Romeo Peralta, company manager and principal dancer of the Ballet Manila. Both started out as scholars of the school and company, eventually becoming part of the roster as dancers and reaching the positions they hold today.

On its milestone Pearl Year, Sofia and Romeo find themselves busier than ever. On top of Sofia’s faculty responsibilities and Romeo’s duties as a principal danseur, they’ve also been part of training and coaching young dancers for local and international competitions, holding auditions for Ballet Manila’s productions in Malaysia and Indonesia and attending ballet intensives out of the country so that they could learn from other dance teachers.

“Totoo, may times na natatanong ko kung ano ako today. Kung principal dancer ba or company manager,” shares Romeo, who admits that he really did struggle with the load when he took on administrative work for the company the first time. (It’s true, there are time when I question what my role is today. If I’m a principal dancer or a company manager.) “But I was able to cope or get used to the work because of my supportive wife and our three boys. It also helps that I’m grounded in faith. I understand that the time I have isn’t mine, that work isn’t just for me. I am working for Him, so I want to be able to serve as much as I can.”

***Sofie (third from left) attended the Ducon ballet training in Malaysia last June under master ballet coach Runqiao Du (center). Photo from Sofie Peralta’s Facebook page***

“Marami talaga kaming ginagawa, pero hindi ko nararamdaman ang hirap niya kasi we love what we do,” declares Sofia, who started teaching even before she retired from ballet. To be able to care for her family while raising the next generation of dancers, she’s very strict about time management. “Kapag weekday mornings, nakatutok talaga ako sa mga anak ko. Mga 3 or 4 na sa afternoon ako nagtuturo. Sa weekends ako whole day sa studio kasi mas maraming dancers ang pumupunta sa studio para mag-training.” (We really have many responsibilities, but I don’t feel the difficulties because we love what we do… On weekday mornings, my focus is on my kids. I only start giving ballet classes at around 3 or 4 in the afternoon. It’s during the weekends that I spend the entire day at the studio as there are more dancers who train.)

Asked if they ever pictured themselves to be taking on their current positions in the company and school, Sofia notes that she always knew that she would continue to teach after she stopped dancing. “Pero ang decision-making ay never ko naisip. Ang big goal ko nga dati as a teacher ay makapagturo ng isang student na maipapasok ko sa company.” (I never thought of being a decision-maker. My big goal before was to simply teach a student that can be entered as a company member.)

Together with Ballet Manila artistic director Lisa Macuja Elizalde, Romeo (fourth from left) celebrated the victories of danseurs Jos David Andes, Germaine Dawal and John Sixto Dones at the 2025 Dance Open America Taiwan Regionals last July.

“Different ang akin. Nu’ng nalaman ni Tito Ces na Management ang kukunin ko na course, nasabi niya na maybe I can help out the company in the future and I was open to that. Naisip ko na sa mga years na iyon tutulong ako sa company when I got older. Hindi nga pumasok sa isip ko na maging principal dancer.” (My situation is different. When Tito Ces [Cesar Macuja, father of BM artistic director Lisa Macuja Elizade and long-time BM stalwart,] found out that I will take up Management, he mentioned the idea of me possibly lending my skills to the company in the future and I was open to that. During those years, I actually thought of helping out the company that way. I actually never pictured myself to be a principal dancer.)

Things, of course, took a different turn when he graduated. Realizing that he wasn’t done with dancing yet, Romeo came back full-time and made it to the highest ranks of the company. “I consider it a blessing to get to help the company – to coach those participating in competitions, to do the scheduling and help the younger dancers learn roles – while being able to still dance.”

***Surrounded by her students, Sofie – the assistant director and faculty member of the Lisa Macuja School of Ballet – finds fulfillment as a teacher. Photo from Sofie Peralta’s Facebook page***

Basically having grown up with the company, Sofia and Romeo make it a point to craft a culture that they want, which includes upholding traditional practices and adapting new ways. “We grew up with the old style of teaching and there are some practices that we feel dancers nowadays shouldn’t experience so we try our best to change it,” opens up the danseur. “I guess the main thing I want to apply is to be open. I tell the dancers to always talk to me before rehearsals if there’s something wrong or if they’re feeling something. Because once we start to rehearse, I will expect them to give their 100%.”

“And for me, I want my girls to be like the way I was trained growing up,” adds Sofia. “I don’t want them complaining about every little thing, or show, especially when they’re on stage. Ayaw ko na may nakasimangot kapag nag-re-rehearse.” (I don’t want them frowning when they’re rehearsing.) Here, the assistant directress explains that she wants her dancers to be disciplined, have respect for the art form, and be ready for company life if they do decide to become professional dancers.

*Romeo (leftmost, after partnering Jasmine Pia Dames in 2020’s* Sleeping Beauty) is grateful for the lessons learned from Ballet Manila mentors Lisa Macuja Elizalde and the late Osias Barroso Jr. Photo from Pia Dames’ Facebook page

“The key is for us to really form a strong relationship of teacher-dancer with the kids,” points out Romeo. “It’s the only way they’ll trust you and be able to understand that the comments or criticism you’re giving them is for their own improvement.”

“As a teacher, I’m also very conscious about the way I give criticism to the student. I don’t want them to feel discouraged, so like in my parenting, I do the sandwich method,” comments Sofia. “’Yung mistakes nila ay sina-sandwich ko between aspects kung saan magaling sila. Hindi puwedeng puro mali ang i-po-point out ko.” (I sandwich their mistakes between aspects that they excel in. I cannot just point out the mistakes.)

Speaking of parenting, both acknowledge that being parents to three boys helps them understand and manage the younger generations of dance students and dancers. “An important thing to remember when students are training in ballet is hindi lang sila nag-de-decide sa schedule nila (they’re not the only ones deciding on their schedule). As a teacher, you have to talk to their parents regarding rehearsal schedule, since they’re the ones bringing their kids to the studio,” expresses Sofia, who notes that not having enough rehearsal time is the main concern of ballet teachers she’s encountered abroad.

***Giving feedback to students should always be done in a balanced manner, points out Sofie. Photo by Giselle P. Kasilag***

The LMSB assistant director shares, “In Malaysia, ballet is still seen as a hobby or extracurricular activity kaya hindi nakukuha ng teachers ang bata nang 3 to 4 hours for training kagaya ko. Ang isa ring pagkakaiba nila ay hindi nanonood ang audience ng ballet kung wala silang kilala sa cast. Hindi gaya dito na ang ballet show ay parang sine lang sa iba. Basta’t maganda ang show, papanoorin nila kahit wala silang kilalang sasayaw!”

Romeo underlines how blessed students in LMSB are with the environment they’re in. “Because the school is attached to a company, the students are really able to see that it’s possible to make a career out of ballet. They’re also trained to strive for the standards of the company. Naaalala ko nu’ng naisama ako sa isang tour abroad nu’ng high school pa lang ako. Pagkatapos ng experience, nadiin talaga sa mindset ko na kailangan ko pa mag-improve para makasama pa ako sa ibang opportunities sa company.” (I remember the time when I was allowed to participate in a company tour when I was still in high school. When the experience ended, my mindset was I had to work hard to improve, so that I could participate in other opportunities with the company.)

“Maganda na na-experience namin talaga ang maging professional dancer at pati na rin ang pagiging scholar. Marami kaming na-she-share sa students namin,” says Sofia, noting that when they discuss their journey, they don’t just focus on their wins. (It’s great that we were able to experience the life of being a professional dancer and being a scholar. We are able to share so much with our students.) They note that their experience of dancing their dream roles and touring abroad is the product of consistent work, taking criticism from their artistic directors regularly, and really committing to the strict lifestyle of a ballet dancer.

“Because the school is attached to a company, the students are really able to see that it’s possible to make a career out of ballet,” says Romeo, principal dancer and company manager of Ballet Manila. Photo by Giselle P. Kasilag

Now that they’re mentors and coaches of younger dancers, things haven’t completely changed. They still see every class and performance as an opportunity to learn and every criticism as an opportunity to improve. “Kahit alam ko ang mga itinuturo sa mga Vaganova classes na na-o-observe ko sa abroad, may mga bagong practices doon na napi-pick up ko. Kaya ko rin pinapanood ang mga competitions ng students ko, marami pa rin kasi ako’ng natututunan sa judges at fellow teachers ko.” (Even if I already know what’s being taught in the Vaganova classes I observe abroad, I am still able to pick up new practices there. This is also the reason I watch the competitions of my students. I’m able to learn many things from the judges and my fellow teachers there.)

“You always have to be open to learning when you’re in ballet,” concludes Romeo. “You also have to be intentional when dealing with younger dancers.”