Gridcrosser: Ballet Manila Continues to Shine With Pearlescent Luster

Ballet Manila principal dancer Abigail Lynn Oliveiro as Paquita with principal dancer Junmark Sumalyo as Lucien d’Hervilly and Ballet Manila's corps de ballet (Photo by Ballet Manila)

This year marks a cultural milestone in the Philippines—the thirtieth anniversary of the establishment of Ballet Manila (BM), founded by its current chief executive officer and artistic director, Lisa Macuja-Elizalde.

The prima ballerina, who is the first foreign soloist to ever join the famous Kirov Ballet of Russia, has been a leading figure in popularizing ballet in the country. With BM, she continues to nurture dancers and stage ballets with a program of international, Filipino and original ones. It is admirable how she is committed to her passion, leading BM to reach 30 years, a major feat.

For its Pearl anniversary, BM has prepared a special program for the year, starting with The Pearl Gala: The 30th Anniversary Show, held from 7 to 9 March at their home theater, Aliw Theater, in Pasay City.

Unveiled during the gala was an exhibit, “Dance. Breathe. Repeat: Thirty Years of Ballet Manila,” curated and mounted by Art Project , Inc., of journalists and curators Susan de Guzman and Giselle Kasilag. The exhibit is very informative as it tells the story of BM in pictures and words.

Aside from Macuja, BM was founded in 1995 by 11 other dancers—Osias Barroso Jr., Pamela Asprer, Kristin Dabao, Elline Damian, lanne Damian, Aileen Gallinera, Sandra Lynn Huang, Eileen Lopez, Eduardo Espejo, Jeffrey Espejo and Christopher Mohnani—with Eric V. Cruz serving as it first artistic director. Thus, their slogan is “by the dancers, of the dancers and for the dancers.”

“The idea for Ballet Manila bloomed in the living room of Lisa's supportive parents, Cesar and Susan Macuja, who would become president and treasurer, respectively, of Ballet Manila Foundation,” the exhibit tells. “The other parents turned into the informal BM secretariat, willingly taking on tasks to help the group—from serving as ushers and ticket sellers during shows to ferrying costumes and props in their cars.”

“Everyone assumed multiple roles to get the dream going. Aside from being principal ballerina, Lisa was also artistic associate and chief of staff. Osias (Shaz) was principal danseur and ballet master while lanne Damian was rehearsal mistress. Coaxed out of retirement, the venerable Tito Eric served as artistic director, lighting designer and costume designer all rolled into one,” it further narrates.

BM’s first patron is business tycoon Fred J. Elizalde, who provided the company with headquarters and a studio, and whom Macuja married in 1997.

The exhibit details their performances around the country and abroad; tells about their mission of discovering and training new talents; and the many accolades they received. It also tells that BM dancers adhere to the Vaganova technique, “a training method that Lisa Macuja learned as a student at the Leningrad Choreographic Institute (Vaganova Academy of Russian Ballet).”

A highlight is BM’s contributions to Filipino ballet with original productions such as adaptations of Filipino literary works including Severino Reyes' tales in Tatlong Kuwento ni Lola Basyang and Tatlo Pang Kuwento ni Lola Basyang, the korido Ibong Adarna, and Francisco Balagtas' metrical romance Florante at Laura.

The Pearl Gala, which is comprised of three pieces, afforded audiences a glimpse of the best of BM, “a collection of the best and most exquisite performance pieces from Ballet Manila,” according to Macuja-Elizalde.

The selections included “Paquita Divertissement”; “Bloom,” choreographed by Anabelle Lopez Ochoa; and “Pearls,” an original ballet by Macuja-Elizalde and Martin Lawrance.

“Choosing the repertoire for this gala was difficult to do simply because our wealth of ballets to select from was formidable in itself. How does one program a pearl gala? With something classical and contemporary from the past and a world premiere for the future,” Macuja-Elizalde commented.

With two acts and three scenes, the ballet Paquita was created by French composer Édouard Deldevez and ballet master Joseph Mazilier, and was first staged by the Paris Opera Ballet in 1846. BM performed it as finale during its debut year. The re-stager then was Tatiana Udalenkova, Macuja-Elizalde’s ballet teacher in Russia.

“The ‘Paquita Divertissement’ is a compelling example of classical ballet in its purest form. It is also the ballet that was the finale of our very first Ballet Manila Dances concert at the PCI Bank Auditorium when the company first announced its beginning in February 1995,” Macuja-Elizalde said

“Classical ballet remains the backbone of the company as we continue to train in the Russian Vaganova method and perform the full-length classics during every season,” she explained. “Paquita will present our extremely strong female corps de ballet, soloists and principal dancers in variations and group work that will astound in technical ability and artistic quality.”

The contemporary neoclassical piece “Bloom,” inspired by a Hindu ritual that celebrates welcoming and gratitude, was most delightful and mesmerizing, performed by an almost all-male ensemble.

“‘Bloom’ is a very contemporary piece that clearly features our male dancers, choreographed by Annabelle Lopez Ochoa and then subsequently exported all over the world,” Macuja-Elizalde said. “‘Bloom’ was inspired by Annabelle's trip to Indonesia where she witnessed a flower ritual. What I love about ‘Bloom’ is that it is dynamic, energetic and even a bit sensual with tons of heart-pounding, exciting, testosterone-filled moments. A perfect folly to the very classical female-dominated Paquita.”

Closing the show was the world premiere of “Pearls,” especially created for the anniversary, featuring “all the styles that the company performs in,” with music is by Giuseppe Verdi.

Macuja-Elizalde said that “Pearls” was created in stages.

“The first part of the ‘White Pearls’ was actually choreographed for our Malaysian dancers involved in Ballet Manila's greatest hits performed in Kuala Lumpur late last year. The ‘Pink Pearls’ is a pas de six or a dance for six while the ‘Gold Pearls’ with 10 couples was created to celebrate the partnership with Jewelmer for the pearl year and feature the national gem of the Philippines,” she related.

“‘Pearls’ is a company piece as it celebrates each and every member of the company. Like this beautiful classic gem, every dancer in the company is formed by years of training with every class, rehearsal and performance becoming a learning experience that represents the many layers of a performing artist. Just as the pearl is made by its many layers over time inside its shell,” she explained.

For BM’s Pearl Year, Swan Lake, Don Quixote Florante at Laura and Snow White are expected to be staged.

For the years ahead, Macuja-Elizalde promises to keep on dancing, to keep giving their best, and to keep “bringing ballet to the people and people to the ballet.”