PBT revives, celebrates 30 years of Gener Caringal's Andres Bonifacio KKK

Hoping to cultivate nationalism, empower the common man, and awaken the spirit of what it means to be a nation, the Philippine Ballet Theatre brings back Andres KKK this August 22-23, 2026 at the Proscenium Theater in Rockwell, Makati.

Matthew Davo

Choreographed by Gener Caringal, this ballet about Andres Bonifacio had its premiere back in 1996 in commemoration of the centennial of the Philippine Revolution. One of PBT's most widely toured productions, Andres KKK boasts a libretto by Lilia Quindoza Santiago and an original score by Jesse Lucas.

Jessa Tangalin

Dancing the lead role of Bonifacio are Matthew Davo and Dominador Delmo while Jessa Tangalin and Sophie Tiangco portray his wife Gregoria "Oryang" de Jesus.

Matthew Davo & Jessa Tangalin

PBT's Artistic Director Ronilo Jaynario, who originated the role of Bonifacio during the 1996 premiere, says that the ballet has stoot the test of time because "PBT's version of history is not just pages of history in dance. It is a touching tribute to the struggles of the Filipino."

Sophie Tiangco

Jaynario still remembers how Caringal framed the hero: instead of portraying Bonifacio as an untouchable icon or an invincible warrior, Caringal reveals the man behind the monument. His Bonifacio struggles, questions, sacrifices, and perseveres. He is not defined by superhuman strength but by an unwavering belief in his people and their shared dream of freedom.

Dominador Delmo & Sophie Tiangco

Gener Caringal explains his Andres Bonifacio as a product of poverty, suffering, and love for his country. A hero was born because Bonifacio cared deeply for this land and its people. Moreover, in Caringal's vision, Bonifacio's greatest power does not come from standing above the people—it comes from standing among them. They were all heroes of their time, with Bonifacio serving as the symbol of their resolve.

Matthew Davo & Philippine Ballet Theatre

In revisiting Bonifacio's story, Philippine Ballet Theatre invites audiences to reflect on a question that remains as urgent today as it was more than a century ago: What kind of hero does our nation need—and what kind of people must we become to stand behind one? What would it take to make heroes of all of us?

PBT's Andres KKK will have a limited one weekend run on August 22-23, 2026 at the Proscenium Theater in Rockwell Makati. Tickets are available through TicketWorld. For ticket inquiries, call 0968-870-8887.

Philippine Ballet Theatre headlines Insular Life fundraiser

For the very first time, Philippine Ballet Theatre (PBT), the country’s National Performing Arts Company for Dance, will perform in the south through Insular Life’s special fundraising event, Passion and Purpose.The show will only have one performance at Insular Life, Tanghalang Haribon, Alabang on September 20, 2026, 6:00 PM.

Jess Tangalin and Dom Delmo

The landmark evening brings together world-class Filipino artistry, beloved Original Pilipino Music, and a meaningful cause supporting education and the arts. At the center of the program is On the Wings of Song, otherwise known as the Jose Mari Chan Suite—a signature mixed-bill production celebrating the timeless music of Jose Mari Chan through ballet and contemporary movement.

Matthew Davo and Gabrielle Jaynario

Audiences can expect to hear some of Chan’s most beloved classics, including Please Be Careful With My Heart, Can We Just Stop and Talk Awhile, Perhaps Love, Beautiful Girl, Movie Fan, Tsuper ng Aking Buhay, and more—transformed into expressive dance narratives that celebrate Filipino warmth, romance, humor, and family life. Company artist Gabrielle Jaynario shares her thoughts about the show: “Passion and Purpose will allow the audience an opportunity to become grounded for a moment and revisit our local culture. Everyday stories, all told through a fusion of Filipino song and dance, are interesting ways to capture the Filipino spirit. Our JMC Suite is a crowd favorite, always eliciting heartwarming applause because of it’s relateability. And when we can make audiences relate to us artists, it becomes a much more rewarding experience. That said, we are always excited to perform in Muntinlupa”

Philippine Ballet Theatre

Adding a local dimension to the evening, Hampton Court Ballet School will present a special guest performance featuring the young dancers of Muntinlupa City in contemporary ballet works choreographed by award-winning choreographer Fred Fernandez.

More than a performance, Passion and Purpose also serves as a fundraising initiative benefiting:

• Insular Life’s Education Program for the Youth
• Philippine Ballet Theatre’s Adopt-a-Dancer Program
• Hampton Court Ballet School Scholarship Fund

Organizers hope the event will further establish Muntinlupa City as an emerging center for arts and culture while providing more opportunities for young artists and students. Moreover, this is a chance to inspire young audiences to get up and dance as they see relatable art on stage.With limited seating available, organizers encourage you to check out the show and buy their tickets through Ticketmelon.

Sophie Tiangco and Julafer Fegarido

Ticket Prices:

P2,500 Front Orchestra Center

P2,500 Front Orchestra Side

P2,000 Back Orchestra Center

P1,500 Back Orchestra Side

P1,000 Balcony

Philippine Ballet Theatre: Setting 2024 ablaze with 38th season performances

Philippine Ballet Theatre

Last year, the Philippine Ballet Theatre made a welcome return to live performances with it's 37th season that premiered a new work with Ibalon, saw the company mount a US tour, and brought back a perennial audience favorite with The Nutcracker. Now, the PBT is poised to set 2024 Ablaze with their 38th season lineup.

The season starts with Sarimanok, a new ballet by the same creative team of Ibalon namely PBT Artistic Director Ronilo Jaynario for choreography and Paulo Zarate for music. The ballet is about the legendary bird of the Maranaos, normally depicted with colorful and vibrant feathers that finds itself in between a love story between a mortal and a moon goddess.

Matthew Davo and Gabby Jaynario

Next in the lineup is Music in Motion, a mixed bill of neoclassical works by Ronilo Jaynario set to Philippine music performed by pianist Raul Sunico. Presented in a dinner and dance format, this production will be held in September.

Sophia Tiangco, Matthew Davo, and Jessa Tangalin

Lastly, the company caps its 38th Season with yet another staging of The Nutcracker. This ballet, boasting a cast of more than a hundred dancers, has become a Christmas holiday tradition not just of the PBT but also of the Cultural Center of the Philippines. In October, PBT will also embark on a tour of select cities in the US. Exact dates and venues of the performances of the 38th season will be announced soon.

Founded in 1987, Philippine Ballet Theatre (PBT) has established itself as the pre-eminent classical ballet company in the Philippines today. It was borne out of an alliance of leading dance groups in the eighties but immediately won recognition as a resident ballet company of the Cultural Center of the Philippines.

Matthew Davo and Jessa Tangalin

Philippine Ballet Theatre has now expanded its vision and pursues the goal of bringing the upscale art of dance to general appreciation among Filipino audiences. With its concurrent preservation of the rich and elegant classical story ballets, such as Swan Lake, Giselle, Nutcracker, and Raymonda, PBT also launches contemporary ballets that are of emotional depth, dramatic realism and stark inventiveness like the critically acclaimed Carmina Burana and Daughters of Mourning (Bernarda Alba). Its repertoire continues to dazzle and amaze various audiences with its distinct and poetic delicacy and refined sophistication.

Contact Philippine Ballet Theatre at (02) 6328848, (0912) 9455151, (0949) 3252545, (0995) 1580538, and at secretariat@pbt.ph

A merry outing for Philippine Ballet Theatre's rising ballerinas

The Merry Widow's matinee cast

Two of Philippine Ballet Theatre’s young and award winning ballerinas, Kim Abrogena and Veronica Atienza were the belles of the ball at The Merry Widow, the company’s second production of its 31^st season.

Adapted from Franz Lehár’s operetta Die lustige Witwe, this comic ballet restaged by PBT’s artistic director Ronilo Jaynario, is a breath of fresh air from the usual romantic, tragic, classical ballets where the lead female role ends up dying.

The Merry Widow's evening cast

So Kim and Veronica, making their principal role debuts in this production, do not die in the end. The two alternated the role of Hannah Glawari, who happens to be a widow (so it’s her husband who died off stage even before the start of the ballet). And the poor, grieving widow was thrust into the schemes of the Pontevedrian Ambassador Baron Mirko Zeta, his young wife Valencienne and French Attaché Camille, Count de Rosillon, in an attempt to make sure that her wealth will remain in financially strapped Pontevedro. And this would be made possible if she ends up marrying Count Danilo Danilovitsch, First Secretary of the Pontevedrian Embassy. In typical opera fashion, it is revealed that Count Danilo and Hannah were former lovers and what should’ve been an easy route to rekindled love has to go through complications (and an affair by Camille and Valencienne). But since this is a comedy, everything gets sorted in the end and Count Danilo and Hannah end up in each other’s arms, Baron Zeta gives Valencienne her freedom to be with Count Camille and Pontevedro is saved from financial ruin.

I’ve seen Kim dance a handful of times already and her previous roles as the Dew Drop Fairy, Odette and Nikiya paved the way for her to do a more rounded portrayal of Hannah, showing both elegance and vulnerability. Veronica, on the other hand, displayed clean technique and impeccable extension. Still only in her late teens, Veronica’s youth and that aura of innocence just made it hard for me to be fully convinced of her portrayal of Hannah. But she still remains as one of the most exciting ballerinas who burst into the scene last season and I’ve been a huge fan since then.

Martin Buczko and Kim Abrogena

I’ve actually had the same view about Kim some years ago, that she still felt like a girl, when I first saw her dance the role of the Dew Drop Fairy at The Nutcracker. With her Hannah, I finally saw her as a young woman who can confidently pull off principal roles.

Both Kim and Veronica had the chance to be partnered by guest danseur Martin Buczko, who danced the role of Count Danilo. The towering Martin made quite an impression with his first appearance on stage that had him turning and leaping as if he was drunk. He showed enough looseness to be in character but still in control exhibiting unconventional technique. And to see a tall, lean danseur on stage who is secure with his pirouettes and has superb extension with his high kicks was a sight to behold.

Martin Buczko and Veronica Atienza

PBT veterans Lobreza Pimentel and Regina Magbitang weren’t left in the dust as both alternated the role of Valencienne. The role gave both the chance to be spunky, naughty, and flirty while still showing their signature bravura technique like doing effortless fouettés while wearing a ball gown. Another veteran, Peter San Juan danced the role of Camille with reckless abandon as if there’s no more tomorrow but still maintaining that comic timing which is second nature for him.

This production of The Merry Widow showed the formidable strength of Philippine Ballet Theatre’s lead ballerinas with the fast rising Kim and Veronica now joining the ever reliable duo Lobreza and Regina. I have no doubts that all four could dance lead roles for the company now and it’s just a matter of rotating them to give each her own share of the spotlight. The male members of the company do not have the same depth and it’s up for them to step up and be at par with their female counterparts.

The wait is on for Philippine Ballet Theatre’s third and final production of the season with the all-time favorite The Nutcracker happening this November 18-19, 2017. But right now, I need to acquaint myself to the operetta in which the ballet The Merry Widow was adapted from.

Philippine Ballet Theatre's Le Corsaire

Jared Tan

I never expected that hanging out at the Cultural Center of the Philippines will find me going to exotic places, seeing swashbuckling pirates and getting awed by amazing dancing courtesy of the repeat Philippine Ballet Theatre’s Le Corsaire held at the Tanghalang Nicanor Abelardo (CCP Main Theater). The performance that I saw was actually a repeat of a previous run last April. The ballet, despite its obscurity, proved to be popular enough to warrant a repeat run. And I am extremely pleased to be able to catch it although I didn’t really plan on doing so.

Regine Magbitang

Lemuel Capa

Because of this unplanned trip to the ballet, I was able to discover a great talent by the name of Jared Tan. He used to be a principal soloist of the Philippine Ballet Theatre but has been part of the Atlanta Ballet for the past few seasons. And for this production, he returns to his previous company as a guest portraying the role of the slave Ali. Jared’s Ali was submissive and reserved befitting a slave but this demeanor belied his dancing capabilities. I never felt nervous whenever I saw him do his difficult moves because he looked so secure in his technique. I was impressed by the height of his jumps that seemed to last forever. And his strength was incredible as well especially when he raised one leg in the middle of executing a lift making that move a lot more difficult than it was. Jared’s manner as Ali was so totally different to the other male leads namely Lemuel Capa as dashing pirate Conrad, Mark Pineda as the traitorous Birbanto and Rolby Lacaba as the slave trader Lanquedem who were all brash and cocky. Other featured dancers in this ballet were Lobreza Pimentel as Gulnare and Regine Magbitang as Medora, women who were kidnapped and eventually sold as slaves at a public market. This ballet was restaged by Ronilo Jaynario from the original choreography by Frances Le Comb.

Lobreza Pimentel

Mark Pineda

The dancing, the sets, the costumes were great although I wish that there could’ve been a live orchestra that accompanied the production like their Romeo and Juliet about a couple of years ago which I’ve unfortunately missed. It would've made the music by Adolphe Adam (among others who are credited for composing the music for this ballet) really shine especially during the bedroom pas de deux. I still find it amusing how absurd the plot of this ballet with all the kidnapping, slave trading and finding romance in the midst of it all. I think that the dazzling choreography and dazzling visuals was the main selling point of this ballet instead of the silly plot.

Philippine Ballet Theatre Company Members

While the ballet’s plot may seem ridiculous, there’s nothing of that sort with the beneficiary of the performance during that night which was the Visayan Forum Fondation. The organization aims to rescue and help women who are victims of human trafficking. A brief presentation was held at the Little Theater Lobby to make the guests aware of the foundation’s projects. And a preview of The Fighters, a CNN documentary was shown as well. It was easy for me to shake my head in disbelief to the convoluted (and unbelievable) plot of Le Corsaire. But the real life plight of the victims of human trafficking is no laughing matter and one should take action in order to rescue them and persecute those who are responsible for the atrocity.

Philippine Ballet Theatre's The Nutcracker

Veronica Ylagan

The Philippine Ballet Theatre recently staged The Nutcracker, which was their closing production that capped the company’s Silver year celebrations. During the gala night performance of this classic ballet featuring the equally timeless music of Pyotr Ilyich Tchaikovsky, the main lobby of the Cultural Center of the Philippines was bedecked with Christmas decorations and numerous booths making it seem like I was at a mini-bazaar. The atmosphere was really festive which was nice but I was there primarily for the ballet and also for the music. I do think that the atmosphere at the lobby carried over inside the Tanghalang Nicanor Abelardo (CCP Main Theater) because PBT did deliver a very enjoyable presentation of this well loved ballet.

Tiffany Mangulabnan

I initially hoped that the music for the gala night would be performed by an actual orchestra like their season opener of Romeo and Juliet which I unfortunately missed. Sadly, it wasn’t meant to be although my initial disappointment was completely replaced with satisfaction and elation once I left the theater and hung out at the lobby for the meet and greet sessions.

Lobreza Pimentel

Going back to the ballet itself, the gala night performance featured Veronica Ylagan as Clara, Peter San Juan as the Nutcracker Prince, Lobreza Pimentel as the Sugar Plum Fairy and Tiffany Mangulabnan as the Dew Drop Fairy. It was interesting to note that Tiffany danced the role of Clara’s mother and was also one of the Snowflakes during the first act. And when I looked at the programme, I found out that Veronica and Lobreza also danced other parts during the other shows. Veronica looked very much like a little girl who probably still believed in Santa Claus who exuded joy upon receiving the nutcracker has her gift. Tiffany, on the other hand was very much a woman and she was very striking and had the presence and the charisma. Eyes are instantly drawn to her whenever she dances. Lobreza on the other hand had one of the most demanding parts in the entire ballet and I truly awaited the Pas de deux which she did quite well with Peter. Other highlights of the ballet were the Trepak with the Russian Dancers consisting of Mark Pineda, Matthew Davo and Jefferzon Comeros and the Waltz of the Flowers featuring Tiffany and the rest of the company. Both numbers were the most applauded in the evening.

The Mouse King

I’ve always enjoyed the music of Tchaikovsky and this work was one of the earliest pieces of orchestral music that I’ve heard and loved. This was also very instrumental in my current passion for classical music which is the main reason why I couldn’t pass up on the opportunity to watch a performance of this. Although the lack of live music didn’t diminish the production that much, I would’ve been in seventh heaven had it been otherwise. But as I’ve mentioned earlier, my reservation about this was completely abolished when I immersed myself in the revelry that happened after the performance. For not only did the PBT have a successful staging of the ballet, but the overall experience in itself was top notch. There were quite a number of kids in the audience and I am pretty sure that they would have nice memories of this evening and would probably want to watch more ballet productions in the future.

Philipine Ballet Theatre Company Members

After the show, the dancers hung out at the lobby and they were swamped with audience members wanting to take photos. I remember quite well the time when they were presented to the media during the height of the controversial exhibit at the CCP months ago. Tiffany somehow became the unofficial spokesperson for the PBT when the media asked her questions regarding the controversy and the threat of budget cuts. And she didn’t look very comfortable back then. But after the gala night performance, she was all smiles and in her element as people kept on congratulating her. And it was very much the same for the rest of the company. The production, re-staged by PBT's Artistic Director Ron Jaynario also featured kids from the Sayaw Foundation and they did provide some cute moments during the first act. And these same kids contributed to the jolly mood at the lobby which reminded me that Christmas is indeed fast approaching. Congratulations to the Philippine Ballet Theatre for their 25^th Anniversary and their successful season.