Choreography was a natural offshoot of Shaz’s passion for dance. This talent can be traced back to those family socials when he would eagerly perform spot numbers he himself had put together. After college graduation, he joined the promotion and entertainment company Kultura Filipina as a teacher and choreographer and there put his knowledge of folk dance, jazz and ballet to good use.

As part of Ballet Manila’s debut program in 1995, Shaz created the neo-classical piece In Quest, exploring themes of passion, love and power (above). In 1998, he crafted the dance-drama Gabriela ng Vigan, a commissioned piece in observance of the Philippine Centennial, about Filipino revolutionary Gabriela Silang who continued her husband Diego Silang’s cause to resist Spanish rule.

He also choreographed Pinocchio in 2002 which he expanded to two acts in 2015. Based on the popular children’s story about a wooden puppet who comes to life, both versions were warmly received by audiences. Shaz’s penchant for Philippine culture and story ballets was highlighted in Ang Prinsipe ng Mga Ibon in Tatlong Kuwento ni Lola Basyang and in Pista in Halo-Halo Supreme as well as in the full-length Alamat: Si Sibol at si Gunaw, the latter two made with Gerardo Francisco Jr.

Shaz was also behind Star City’s popular seasonal shows, choreographing and directing such offerings as Belen, Can Can, Princess of the Moon and Munting Anghel, and the Circus D’Ballet series that combined the beauty of classical dance and the spectacle of carnival acts.

Extremely musical and a fast choreographer, Shaz produced a prolific output for the Lisa Macuja School of Ballet for many years. Classical Impromptus, The Enchanted Garden, and The Magical Bird & Masquerade are just some of the titles credited to him. Among his school pieces, Ecole is the most significant as it showcases the progression of ballet students from the barre to center stage, capped off by a virtual dance-off. It continues to be a staple for recitals and in Ballet Manila productions.