Abigail Oliveiro and Mark Sumaylo. Erica Marquez-Jacinto
It’s been weeks since the premiere, so I’ll spare everyone the suspense — Ballet Manila's “Paquita,” a full-length classical ballet reimagined by artistic director Lisa Macuja-Elizalde, was a resounding success.
Weeks after the invitational gala, I am still giddy with pride. Ballet Manila has successfully added another full-length classical ballet to Philippine dance history. More importantly, this is the first complete staging of “Paquita” in the Philippines. It's a gift to the local arts community.
This might come as a surprise to some, but unlike the theatre community — which seems to mount a new story every other month — classical ballet premieres are painfully few and far between. We keep revisiting the same handful of titles while so many masterpieces remain untouched. Think “Manon.” “The Lady of the Camellias.” The complete “Flames of Paris.” “Sylvia.” “Spartacus.” The list is embarrassingly long.
So yes, Ballet Manila absolutely did the right thing by breathing life into a ballet that deserves to be seen. The “Paquita Divertissement” has long been a staple of the company's repertoire, but seeing it where it belongs — inside a complete story — makes all the difference.
The story
Story-wise, “Paquita” feels like ballet's greatest hits.
Shaira Comeros, Rafael Perez and Pia Dames in Paquita Pas de Trois. Erica Marquez-Jacinto
You've got the lost-nobility storyline straight out of “Anastasia” — a girl kidnapped as a child, raised in poverty, only to discover she was born into privilege.
Then there's a little “Le Corsaire,” complete with women being bought and sold as though they were merchandise. Throw in an attempted poisoning because apparently 19-century ballet never met a melodramatic plot twist it didn't like.
And finally, there's a touch of “La Bayadère”: an engaged nobleman who falls in love with a woman society insists is beneath him.
“Paquita” follows a vivacious young gypsy who falls in love with the nobleman Lucien, despite his arranged engagement to a woman of aristocratic birth. As long-buried secrets about Paquita's true identity come to light, circumstances change dramatically, paving the way for the ballet's joyous wedding finale.
On paper, it sounds like several ballets stitched together. Onstage, it somehow works beautifully.
Elizalde's vision
Ludwig Minkus' buoyant score alone is enough to keep an audience in a good mood. Add Marius Petipa's choreography — the kind of gold every classical company wishes it could call its own — and you're already halfway to a successful evening. But Petipa gave us the gold. Elizalde made us care about the people, the characters dancing it.
Elizalde's adaptation, with her own choreography in segments, is really what differentiates it from other companies that have likewise perfected the Minkus vocabulary. Her storytelling is engaging; her choreography can easily be digested as simple conversations, even if they are extravagantly done en pointe.
Shaira Comeros, Rafael Perez and Pia Dames in Paquita Pas de Trois. Erica Marquez-Jacinto
Hers is not a snooze-button ballet or a museum piece; it was unmistakably vibrant. The choreography gave the characters a beating heart, with steps carefully packaged in flourishes and soft curls of the arms. Flirtatious skirt play for the gypsy girl, clean classical arms for the nobility.
I especially like the ensemble's choreography. Some choreographers pay no special attention to the ensemble, making them dance very simple, uninspiring combinations. I suspect the dancers had a blast dancing through the dynamic curation of steps that showcase advanced technique and artistic capability.
I will say, however, that Elizalde’s Act 1 seemed to have a disconnect with Minkus’ Act 2, which was the culmination of the story: a wedding. I feel like a better introduction to the full divertissement could have benefited the storytelling. Act I pulls you into the story. You become invested in the characters and their journey. Then Act II arrives and almost says, "Enough feelings. Let's do variations." I did not necessarily like the Children’s mazurka section in Act II, because it should traditionally be performed by children, as the name implies.
Other than that, as a certified bunhead, I would have loved to dance Elizalde’s ballet. Fun and fearless choreography paired with Minkus' classic tradition makes the ballet worth my time and enthusiastic applause.
The principal artists
Abigail Oliveiro born to dance Paquita. She embraced the character's fiery personality without ever crossing into caricature, and you simply couldn't take your eyes off her. I especially loved her appropriate flamboyance. More importantly, she remained committed to the scene rather than the step. In choreography like this, it would have been easy to play to the audience — to chase applause with smiles and bravura. Instead, Oliveiro stayed present with the characters around her. Her focus never left the story, a mark of an artist.
Abigail Oliveiro and Mark Sumaylo. Erica Marquez-Jacinto
Mark Sumaylo was equally convincing as Lucien. He was slated to play the villain but took on the lead role when a colleague got injured. He delivered. He has the look every romantic ballet hero hopes for: polished enough to belong in a palace, yet completely undone by a wildflower he never expected to find. Beyond the partnering and technique, he acted with sincerity. Simple but effective.
And then there's Romeo Peralta. Peralta is Ballet Manila's resident evil. If there's a kontrabida to cast, honestly, save everyone the suspense and give it to him. He played the role of Iñigo, the leader of the gypsies, the main antagonist. Absolutely convincing.
The supporting cast
Among the evening's standouts were Shaira Comeros, Pia Dames, Rafael Perez, Stephanie Santiago, and Shamira Drapete.
Shamira Drapete. Erica Marquez-Jacinto
Comeros, Perez, and Dames seemed to be everywhere — in the best possible way. Between the Pas de Trois and the numerous solo variations, they carried an enormous amount of dancing. If anything, I found myself wishing they had been given a little bit more characterization and backstory. When dancers contribute this much to a production, it's only natural to want to know more about who they represent. The three shared an easy chemistry, and their clean classical lines made the Pas de Trois one of the evening's highlights.
Stephanie Santiago. Erica Marquez-Jacinto
Stephanie Santiago and Shamira Drapete, both major names in Ballet Manila, delivered quality dancing. Many have danced “Paquita,” but rarely do you see it with evident ease. Beautiful lines, feather-light jumps, and effortless confidence . While they probably did not find their respective variations easy, as they were among the hardest of the pack, they fooled us all with their countenance. Bravo.
Final thoughts
Nothing left to say but big congratulations to Ballet Manila. May you have the courage to bring more of the unseen ballets to Aliw Theatre.
After all, the ballet world is far bigger than the handful of titles we keep returning to — and this “Paquita” proved that our artists are more than ready for what's next.
With news stories come new audiences and, more importantly, priceless experiences for the artists involved. Can’t wait to see more from Ballet Manila.