Ballet Manila's Giselle: A major step "On pointé" towards rebuilding

The cast of Ballet Manila's Giselle

After a massive fire gutted Star City, completely destroying Star Theater and damaging Aliw Theater that has housed Ballet Manila's performances for years, the remainder of company's 24th season was put in major doubt. But the company's CEO and Co-Artistic Director Lisa Macuja-Elizalde's determined resolve to rise from the ashes, her dancers' desire to perform no matter what, coupled with the arts community rallying behind Ballet Manila, the impossible was made possible.

Eventually staged at the Cultural Center of the Philippines through a venue grant with backdrops, sets, props and fog machine lent by Ballet Philippines and the Manila Symphony Orchestra led by Alexander Vikulov offering a discount on their services, Ballet Manila's staging of Giselle pushed through with a one night performance at the CCP's Main Theater.

Looking back as 2019 starts to wind down, this has got to be one of the key moments in the arts and culture scene of the year or possibly even this decade.

To say that the company gave an inspired performance would be a complete understatement. Dancing the titular role of Giselle was principal Joan Sia who already did the part at the very same venue for Dance MNL a little over three years before. Being the veteran in the role, she took charge and danced as if everything depended on her which is no small feat for a character who was supposed to be naive, vulnerable, and frail.

Elpidio Magat's Albrecht provided more than just ample support for Sia's Giselle. His acting gave the audience an avenue to channel their grief. And his brisés towards the end of Act II had power and excitement that further heightened the sense of urgency as his death at the hands of the willis was becoming more imminent.

Conductor Alexander Vikulov, Lisa Macuja-Elizalde, and Ballet Manila

The confident pairing of Nicole Barroso and Joshua Enciso at the Peasant Pas de deux showed why Ballet Manila's future is secure.

Akari Ida as Myrtha embodied coldness in character as she executed her steps without fail. And Mark Sumaylo take on Hilarion made me feel sorry for him as someone who always had Giselle's best interest at heart only having to meet a tragic end while the deceptive Albrecht lived to see another day.

The corps were more mature and showed improvement in leaps and bounds compared to how they were at Chopiniana from their Deux 23rd season ender earlier this year. Every time the audience showered applause to the corps whenever they were spot on, it felt like it was not just an applause for an exceptional performance, but also an applause to show their assurance, a way of communicating to the entire Ballet Manila company that the arts community have their back, that they will not be alone as they rebuild and rise from the ashes. It was one of the moments that makes an impact for life even if one was just a member of the audience.

As always, having Alexander Vikulov lead the Manila Symphony Orchestra means that one can just sit back and be immersed with the ballet without worrying that the tempo and dynamics aren't suited or tailor made to whoever is dancing on stage.

Present on that night were dancers from the Philippine Ballet Theatre who led the loudest cheers from the audience, officials from Ballet Philippines, members of the diplomatic corps, personalities from various arts and culture organizations, and even people who one would never imagine bumping into at the ballet.

The coming year will not be easy for Ballet Manila. But the way they showed their strength as a company with their recent staging of Giselle, one cannot help but feel optimistic that they will eventually rise once again.

Ballet Philippines’ celebrates 45th Sapphire Year Anniversary with the Blue Moon Series

For two weeks, Ballet Philippines, the country’s premier dance company celebrates its 45^th Sapphire Year Anniversary with the Blue Moon Series. The celebrations start with the repeat restaging of Giselle on September 19-21, 2014 that will feature on its gala, fundraising night guest artists Stella Abrera and James Whiteside from the American Ballet Theatre. A week later on September 26-27, 2014, the Blue Moon Gala takes place featuring BP’s masterworks and more and also the return of former BP principal dancer Candice Adea, now of the Hong Kong Ballet. Lastly on September 28, 2014, the Blue Moon Homecoming Gala showcases performances by dance schools here and abroad that were founded by BP alumni and former students. All of these shows will be staged at the Cultural Center of the Philippines’ Tanghalang Nicanor Abelardo (CCP Main Theater).

American Ballet Theatre’s Stella Abrera and James Whiteside to dance in Giselle fundraising gala

BREAKING NEWS:
Dear friends who have bought tickets for tonight's Giselle. We are pushing through as scheduled. James Whiteside leaves for New York tomorrow morning due to an earlier commitment. It will be a pity not to watch them. However, some PPO members are stranded so we can't have the orchestra tonight. They are playing instead tomorrow. Pls pass EDSA to CCP. no floods there. Pagasa says rains leaving Manila at 8pm. Leave early. Come in any attire. Wear your boots if you have to wave the floods. We worked so hard to put this together. See you! - BP President Margie Moran Floirendo

September 19, 2014, 3:00 & 8:00 PM 3:00 PM show cancelled

September 20, 2014, 2:00 & 6:00 PM

September 21, 2014, 2:00 PM

Tanghalang Nicanor Abelardo (CCP Main Theater)

CCP Complex

Pasay, Metro Manila

American Ballet Theatre’s Stella Abrera dances the title role in Giselle that kicks off Ballet Philippines’ Blue Moon Series. Abrera, along with her fellow ABT dancer, James Whiteside, will take to the stage as Giselle and Albrecht respectively for the one night only, fundraising gala happening on September 19, 2014, 8:00 PM at the Cultural Center of the Philippines’ Tanghalang Nicanor Abelardo (CCP Main Theater). The Philippine Philharmonic Orchestra, conducted by Olivier Ochanine, will provide live music on this special night.

Stella Abrera

This romantic ballet restaged by Nonoy Froilan, after a successful run last season, returns once again this season for just one weekend. Aside from the guest artists from ABT, the show will also feature Ballet Philippines’ principal dancers Katherine Trofeo and Jean Marc Cordero, as well as newly promoted soloist Denise Parungao and junior principal dancer Earl John Arisola, reprising their roles during the other performances. This production also features stage/film/television actress Mailes Kanapi as Berthe, Giselle’s mother, with Nonoy Froilan and Butch Esperanza alternating as the Duke of Courland, as well as Carissa Adea, Richardson Yadao, Rita Angela Winder, Ma. Celina Dofitas, along with BP’s company members, apprentices, and scholars.

Giselle's Peasant Pas de deux with Monica Gana and Timothy Cabrera

During BP’s 44^th IllumiNATION Season, I had the opportunity to watch the opening night of Giselle with Carissa Adea and Richardson Yadao and I sang the praises for this top notch production. I welcome the opportunity to see this ballet (and go through the heartbreak of Giselle) and hear Adolphe Adam’s music once again.

Ballet Philippines’ favorites and more at the Blue Moon Gala

Aku with Jemima Reyes and Victor Maguad

September 26, 2014, 8:00 PM

September 27, 2014, 2:00 & 6:00 PM

Tanghalang Nicanor Abelardo (CCP Main Theater)

CCP Complex

Pasay, Metro Manila

A week after wiping away tears from Giselle, it will be time to celebrate the favorite masterpieces (and more) that the Ballet Philippines has whipped up for the past 45 years at the Blue Moon Gala this September 26 & 27, 2014 at the Cultural Center of the Philippines’ Tanghalang Nicanor Abelardo (CCP Main Theater).

The dances included in the Blue Moon Gala are Je Tu Elle choreographed by Redha Benteifour, Farandole choreographed by George Birkadze, Salome choreographed by Agnes Locsin, Cold Song choreographed by Max Luna III, Bungkos Suite choreographed by Alice Reyes, Nocturne choreographed by Carlo Pacis, R/J choreographed by George Birkadze, For the Gods choreographed by Denisa Reyes and Songs of the Wayfarer choreographed by Norman Walker.

The Blue Moon Gala will also feature the return of former Ballet Philippines principal dancer Candice Adea. She and Shen Jie, her co-soloist at the Hong Kong Ballet, will perform the Don Quixote Grand Pas de Deux which is considered as one of the most challenging duets in the classical repertoire.

The matinee show of the Blue Moon Gala will feature works included in the BP show Master Pieces that will tour the United States of America and Canada this October. The works to be performed are Aku choreographed by Alden Lugnasin, Halik choreographed by Paul Alexander Morales, After Whom choreographed by Augustus “Bam” Damian III, Moriones choreographed by Agnes Locsin, and Tambol at Padyak choreographed by Tony Fabella.

Alumni and students gather for Ballet Philippines’ Homecoming Gala

September 28, 2014, 2:00 & 6:00 PM

Tanghalang Nicanor Abelardo (CCP Main Theater)

CCP Complex

Pasay, Metro Manila

Highlighting the impact and legacy that Ballet Philippines’ has had for 45 years is the Homecoming Gala, a special event that will gather around 20 distinguished alumni along with over 200 students. This one time show, happening on September 28, 2014, 8:00 PM will feature dance schools based here and abroad that were founded by alumni and former students of Ballet Philippines.

The participating dance companies are Ecole De Ballet Manille, Seven Contemporary Dance Company, De La Salle Zobel Ballet Program, Portland Festival Ballet, Quezon City Performing Arts Development Foundation, Inc.; Edge N’ Pointe Dance Centre, Dance Theatre Arts, Locsin Dance Workshop, Tlg Ballet, Far Eastern University Dance Company, Maquiling Ballet, Effie Nañas Ballet, Airdance, Dancepull Project, Inc.; Garcia-Sanchez School Of Dance (Bacolod City); Perry Sevidal Ballet; Daloy Dance Company; Steps Dance Studio, Annie Divinagracia-Sartorio School Of Performing Arts (Iloilo City); and the CCP Dance School.

The distinguished alumni of the company is a who’s who in the Philippine dance scene and they include Eddie Elejar, Agnes Locsin, Effie Nañas, Perry Sevidal, Luther Perez, Eduardo Malagkit, Robert Medina, Dwight Rodrigazo, Georgette Sanchez, Annie Divinagracia-Sartorio, Annette Cruz-Mariano, Ela Rodriguez, Verna Fajilan-Brazil, Ryan Bautista, Brezhnev Larlar, Toni Lopez Gonzalez, Nina Anonas, Christine Crame, Ava Maureen Villanueva-Ong, Ea Torrado, and Sofia Zobel-Elizalde.

The Homecoming Gala promises to be a fitting end to Ballet Philippines’ Blue Moon Series as the biggest names in Philippine dance present their works encompassing various genres like classical ballet, contemporary, pop and ethno-modern.

Seated from left to right: Margie Moran-Floirendo, Stella Abrera, and Paul Morales
Standing from left to right: Katherine Trofeo, Nonoy Froilan, Denise Parungao,
and Gina Katigbak-Garcia

For inquiries:

Ballet Philippines 551-1003

CCP Box Office 832-3704

Ticketworld 891-9999

Ballet Philippines' Giselle

Carissa Adea and Richardson Yadao

The purist in me had been waiting for more than a year to see the traditional staging of Giselle ever since I saw Ballet David Campos’ modern/contemporary take on this classic ballet. And when Ballet Philippines’ announced that Giselle would be their opening production for their 44th Season IllumiNATION, that Nonoy Froilan would be restaging it after Jules Perrot, Jean Coralli and Marius Petipa, and that the Philippine Philharmonic Orchestra led by Olivier Ochanine would accompany in Gala performances, I felt doing Giselle’s variation in Act I out of pure joy.

I was able to watch the opening Gala Performance of the ballet held at the Cultural Center of the Philippines' Tanghalang Nicanor Abelardo (CCP Main Theater). The cast during that night were principal dancers Carissa Adea in the title role of Giselle and Richardson Yadao portraying the role of Albrecht. The other were Timothy Paul Cabrera as Hilarion, Rita Winder as Countess Bathilde and Queen Myrtha.

Carissa Adea

One thing I could say about Giselle is that the two acts are completely different from each other. The first act was festive, full of joy and had a very pleasant palette of fall colors. The dancing was spirited especially by Gilliane Geguinto, Cyril Fallar, Jemima Reyes and Emmanuelle Guillermo during the Peasant Pas de Quatre. And two of my most highly anticipated moments for this act were Giselle’s entrance and her famous variation. And all eyes were on Carissa Adea during THE mad scene to see how she was able to deliver in the acting department. I always felt that Carissa has more spunk and fire compared to Candice who exudes naïveté instead. And it’s great to see her hold back that spunk and then completely let go during the mad scene.

In the second act, things got a lot darker and more interesting. It’s hard to believe that this was the same ballet at all. Creepy, cold, foggy and devoid of color, this act introduces the Wilis, spirits of jilted maidens who exist to exact revenge on the male sex (innocent of not). One poor male, Hilarion who longed for Giselle too, became a victim of the Wilis and yet Albrecht, whose deception caused Giselle’s death in the first place, was spared because of her undying love. This part of the story makes me scratch my head since the innocent Hilarion had to die while the two timing Albrecht lived. But I was too mesmerized by the Pas de Deux by Carissa and Richardson Yadao that I finally gave in despite some protests of the reasonable part of my mind. And I think that this was also the hidden power of the corps de ballet who glided; changed positions on stage while en pointe and made everything look effortless as if they’re really spirits.

Richardson Yadao

One thing that I paid close attention to during this performance was the Philippine Philharmonic Orchestra, led by its music director and principal conductor Olivier Ochanine. The recurring leitmotifs especially during the second act were such a delight to listen to. I really liked how Giselle’s themes heard in the first act tried to find their way during the second act. It was as if Giselle is not allowing death to extinguish her soul. The viola is rarely used for solo passages but its timbre and range worked really well for the scenes in act two. But I still had some issues with the brass section which was spotty at times especially during the arrival of the hunting party in the village.

Shamaine Centenera-Buencamino

This production also featured a trio of theater personalities in acting roles: Shamaine Centenera-Buencamino as Giselle’s mother Berthe, Butch Esperanza as Wilfred and Bembol Roco as the Duke of Courtland. The roles of Wilfred and the Duke could’ve been portrayed by other actors and it wouldn’t have made that much of a difference. But Shamaine really made a mark in her role as Giselle’s worried mother who eventually grieved her loss.

I was so pleased to be able to catch Ballet Philippines’ Giselle. And this is just the start of their 44^th Season and there is still a bunch to come. Up next will be Rock Supremo which is a tribute to Philippine hero Andres Bonifacio who is celebrating the 150^th Anniversary of his birth.

Ballet Philippines launches 44th Season IllumiNATION

Maan Hontiveros, Margie Moran-Floirendo, Paul Morales, Jenny Bonto
and Sandy Hontiveros

According to Ballet Philippines’ President Margie Moran-Floirendo, the company’s upcoming 44th Season IllumiNATION will focus on the power of love as a light towards national progress. She adds that art (that includes dance), not only entertains and educates, but it also changes lives for the better.

With this in mind, Ballet Philippines formally launched their 44^th Season by presenting In Focus, an intimate program held at the Arts in the City that introduced the works of their upcoming season and also showcasing the various groups under BP. Excerpts from past, upcoming and future productions were presented to an audience that included not only the media but also those who are into producing/organizing/planning events.

Excerpts from their season opener Giselle, holiday production A Christmas Carol and seasonal Gala The Art of Dance gave the audience a clear view of what to expect this season. Seeing performances from past productions made me regret missing them especially Don Quixote (last staged back in 2011) with the Kitri Variation was performed by Jemima Reyes. Also presented in the program were signature BP numbers choreographed by Alden Lugnasin: Lahat ng Araw using the Ryan Cayabyab’s arrangement recorded by the defunct San Miguel Philharmonic Orchestra and This is My Life sung by Pilita Corales. Ballet Philippines’ subgroup, The BP crew, a young ensemble that to a hiphop mix, also showed that aside from performing classical ballet and contemporary dance, BP dancers also have some swag.

They weren’t able to show an excerpt from Rock Supremo which is in line with the 150^th birth year anniversary of Andres Bonifacio. But I was able to hear snippets of the songs by Gloc-9 and Ebe Dancel that were composed specifically for this production. Because of the unique collaboration between Filipino music acts and Ballet Philippines, Rock Supremo is poised to be the main highlight of BP’s 44^th Season.

The productions that Ballet Philippines have in store for their 44^th Season IllumiNATION are as follows:

Giselle

August 16-18, 2013

Tanghalang Nicanor Abelardo (CCP Main Theater)

Giselle, touted as one of ballet’s greatest; Giselle is a classical romantic tragedy of loss, forgiveness, and love beyond death.

Rock Supremo

September 20-29, 2013

Tanghalang Aurelio Tolentino (CCP Little Theater)

The life of this valiant hero and visionary is celebrated in a study of his romantic life essaying his experiences of love as a young man that shaped his dreams of justice and democracy in a time of political repression.

Integrated with a multimedia landscape, this modern look into Bonifacio’s life seeks to inspire the contemporary audience with insight and perspective into the heart of a loving man. Bonifacio’s story as a young man who chooses the nom de guerre “May Pag-asa” is retold in dance that continues to breath the hope of a country on its way to political maturity.

Rock Supremo is in collaboration with Rock Ed and supported by the National Historic Commission of the Philippines. It features the talent and music of popular Filipino music acts such as Ebe Dancel, Peryodiko, Dong Abay, Kai Honasan, Peso Movement, Gloc9, Sandwich, Pedicab, Radioactive Sago Project, Tarsius and Rico Blanco.

A Christmas Carol

November 29-December 8, 2013

Tanghalang Nicanor Abelardo (CCP Main Theater)

Acclaimed choreographer Edna Vida returns to Ballet Philippines with a new ballet based on Dickens’ popular novel, A Christmas Carol. BP’s Christmas offering brings merriment and enlivens the festive spirit. A must see for the family to celebrate the holidays in a ballet storybook form in multi media.

The Art of Dance

February 2014

A mixed bill of new and revived works from noted guest choreographers, BP’s seasonal Gala will feature international works that showcase the company’s twin mastery of classical and contemporary ballet.

Giselle opens Ballet Philippines’ illuminating 44^th Season

August 16, 2013, 3:00 & 8:00 PM

August 17, 2013, 2:00 & 6:00 PM

August 18, 2013, 2:00 & 6:00 PM

Tanghalang Nicanor Abelardo (CCP Main Theater)

CCP Complex

Pasay, Metro Manila

The tragic tale of peasant lass Giselle will be Ballet Philippines’ opening production for their 44^th Season IllumiNATION happening this August 16-18, 2013 at the Cultural Center of the Philippines’ Tanghalang Nicanor Abelardo (CCP Main Theater).

This production will be a restaging by the Philippines premiere danseur Nonoy Froilan after Jules Perrot, Jean Coralli and Marius Petipa. The title role of Giselle will be portrayed by Katherine Trofeo, Carissa Adea, and Denise Parungao while Jean Marc Cordero, Richardson Yadao and Earl John Arisola will portray Giselle’s lover Albrecht. Seasoned theater, film and television actors Shamaine Buencamino and Bembol Roco will have a special participation in the ballet as Berthe and Duke Courland respectively.

The Philippine Philharmonic Orchestra, led by Olivier Ochanine, will provide live orchestral accompaniment of Adolphe Adam’s music during Gala Performances happening on August 16, 2013 at 8:00 PM and August 17, 2013 at 6:00 PM.

I remember a contemporary staging of Giselle presented by Ballet David Campos back in 2012 and right after watching, I wished that I'll be able to see a classic staging of this ballet. And a little over a year later, the wait will be almost over for me.

Ticket prices:

Gala Performance with the Philippine Philharmonic Orchetsra

August 16, 2013, 8:00 PM

August 17, 2013, 6:00 PM

P1500 Orchestra Center & Parterre Box

P1200 Orchestra Side & Lower Box

P800 Upper Box

P600 Balcony I Center

P500 Balcony I Side

P400 Balcony II

August 16, 2013, 3:00 PM

August 17, 2013, 2:00 PM

August 18, 2013, 2:00 & 6:00 PM

P1200 Orchestra Center & Parterre Box

P1000 Orchestra Side & Lower Box

P700 Upper Box

P600 Balcony I Center

P500 Balcony I Side

P400 Balcony II

For inquiries:

Ballet Philippines 551-1003, info@ballet.ph

CCP Box Office 832-3704

TicketWorld 891-9999

Philippine Spanish Dance Connection Project

Late last year, I was told that several Embassies and cultural institutions would be bringing dancers and dance companies here to perform and conduct workshops. I expected that these would happen by the middle of this year. It turned out that things got to a quick start even before the first quarter wrapped up when Ballet David Campos kicked things off by performing new versions of two ballet classics. This ballet company based in Barcelona, Spain has strong connections to the Philippines. David Campos, founder and artistic director of the company is married to Filipina Irene Sabas-Campos, co-founder who is also the associate artistic director and ballet mistress as well. Four Filipino dancers are also members of the said company (Elline Damian, Aileen Gallinera, Eduardo Espejo, Karina Campos). Hence, this event organized by Ballet David Campos of Barcelona, the Spanish Embassy of the Philippines, Instituto Cervantes, Cultural Center of the Philippines and the Institut Ramon Llull was called the Philipine Spanish Dance Connection Project. The project was also held in cooperation with Centunion, Mapfre Insurance Corporation, Ayala Land, San Miguel, Mercedes Benz and Ollé Beltrán.

Sleeping Beauty

I’ve always liked the music from the ballet Sleeping Beauty. The ballet’s score that was composed by Pyotr Ilyich Tchaikovsky was the main reason why I got interested in watching this performance in the first place. I’ve seen Ballet Philippines perform this ballet a few months back and when I heard that Ballet David Campos would be performing a new version of this piece, I decided to see it just to hear the Tchaikovsky music once again. I didn’t mind at all even if I knew that there wouldn’t be a live orchestra during the performance.

I was warned by some people to be prepared for a radical version of Sleeping Beauty since they know that I am somewhat a purist. But I assured them that I am ready for whatever surprises that the company had to offer. I added that I’ve already seen some very unusual contemporary dance performances before so there was no need to worry about me not getting the performance. I knew that as long as there was the familiar music by Tchaikovsky, I would be okay. But there were indeed many surprises in this version, the most notable was the clever use of technology through video screens in front and at the back of the stage. One thing that I never expected with a ballet performance was the use of special effects. And there were indeed neat effects like fairies flying and arrows firing that somehow felt like watching a movie in 3D because of the two screens. While the technology gave this production a literal modern twist, there were still nods to the classical aspect as the dancers still showed of their technical chops in some of the dances like the Pas de deux with Elline Damian as Princess Aurora and Vincent Gros as the Prince. The story also departed from the traditional as an entire section was devoted to what Princess Aurora could’ve dreamed of while she was asleep for a hundred years. And her century of sleep did take the story into the 21^st century with contamination suits, flat screen television and even a Sleeping Beauty ballet within the ballet itself. There was also humor in this staging with Puss in Boots having a rat in his mouth and also hinting that he ate the unfortunate blue bird as well. I was surprised also to see Vincent Gros, one of the guest dancers, since he doesn't have the typical physique of a danseur. And yet he managed to do leaps, pirouettes and partner work just like any principal danseur out there.

I was pretty pleased with this ballet with it's nice and interesting mix of the classic and the innovative. The smart use of technology left me at awe and the dancing sections (Pas de deux and the Blue Bird pas de deux) satisfied my desire to see some difficulty in the dancing. My only disappointment was that the Rose Adagio, my favorite piece of music from the entire ballet didn’t make it in David Campos’ version.

David Campos

Giselle

I went back the next evening when it was Giselle’s turn to be staged. If Sleeping Beauty was a fairy tale that ended in a happily ever after, Giselle ended in a sad and tragic note. This version is a modern take of the classic ballet and none could be more modern and contemporary than club music which was indeed used in here aside from the Adolphe Adam music. And Giselle, played by Ailleen Gallinera wasn’t the naïve peasant girl in here, but was an awkward woman who looks like Betty La Fea. Albrecht was played by the dashing Jesús Pastor, also one of the guest dancers, and he displayed tremendous turning ability with his numerous pirouettes.

Betty La Fea wasn’t the only reference to modern pop culture. The Wilis which were the vengeful spirits who are out to exact revenge on the men who had wronged them, looked and moved like Sadako from the Japanese horror film The Ring. One Sadako was scary enough but in here, there were a lot since all of the women in the company were dressed as such at one point. Again, this production used technology with the video screens just like in Sleeping Beauty. One memorable part was when the video that was shown made it look as if Giselle was running at a subway station although she was just running in place on stage. Since this version of Giselle was grounded in reality, the effects brought by the screens didn’t have the wow factor in them compared to Sleeping Beauty which had a fantasy setting.

The setting, the costumes and some of the music and dances may be modern but there were also throwbacks to the classic ballet like Giselle’s famous variation during the first act. I failed to recognize if there were other portions like this since I wasn’t really familiar with the entire Giselle ballet in its original form. There was more emotional depth in this ballet since the themes are more mature in nature like love, betrayal and revenge. I got a bit worried during the performance since there were kids among the audience and the ballet had some violent and scary moments especially the death scene. Overall, despite its shorter length compared to Sleeping Beauty, there was more emotional hook in here and the production catered to more adult sensibilities.

One thing that made me really glad during the two nights that I was able to watch was seeing a lot of children (some of them members of dance groups) at the shows. After watching Sleeping Beauty, these children along with a bunch of adults as well mobbed Lisa Macuja who was there to watch the entire run of this dance project. And she had a very good reason to be there since Elline Damian, Aileen Gallinera and Eduardo Espejo were founding members of Ballet Manila, the ballet company owned by Lisa Macuja herself. And after I watched Giselle, it was David Campos' turn to be mobbed by the people at the lobby who wanted to have their photos taken or their souvenir programmes signed. This was just the first of a handful of dance projects happening in here. I am not a dancer but I like to watch dance performances and after having a taste of what Spain had to offer, I can't wait to see what the others had in store.