Le Corsaire Pas De Deux, a duet of Princess Medora and Ali.

MANILA, Philippines -- Fact: Lisa Macuja-Elizalde has been the face of classical ballet in the Philippines since her return from Russia in 1986, fresh from the rigorous Vaganova training of the Mariinsky Ballet (Kirov Ballet). Another fact: So good  is Lisa in her craft that ballet has been and will always be synonymous to her. Another fact: Ask anyone in the country to name one prima ballerina they know of (perhaps aside from Anna Pavlova who supposedly inspired the Pavlova dessert we all have learned to love) and they would mention Lisa’s name without even breaking a sweat.

Truth be told, so much is the legacy Lisa has already contributed in the local ballet scene as well as in promoting Filipino culture and flair in her dancing that she could just easily retire and finally give her limbs and feet their much-needed rest. But for someone like Lisa, an artist whose passion has never waned and will probably remain burning until she is forced to leave the stage, there are still things to be done and acts to perform.

Although as we speak, she is busy preparing for her five-year “swan song series” starting this year, saying that it’s high time for her to “relax a little bit”, Lisa together with her ballet company Ballet Manila recently performed in England and Ireland from June 27 to July 10. Billed ‘East meets West’, the series of shows in Europe was performed by the 18-member delegation of the company led by Lisa as principal dancer. According to Lisa, the shows featured a mix of classical, neo-classical, contemporary, modern, and Filipino ballets.

“This was a first for Ballet Manila. We brought the best of Filipino ballet to audiences abroad. It’s also a thrill for our dancers to be having this kind of international exposure. We have meticulously discussed the repertoire and made sure to present a diverse mix of ballet numbers,” Lisa says, even quipping how they have first and foremost canceled their dancers’ vacations in preparation for the series of shows abroad.

Lisa shares that the Europeans saw some of Ballet Manila’s finest works including: Arnis (a dance inspired by the Filipino martial art of wielding wooden sticks); Dulce (a ballroom-to-ballet medley portraying the Filipino way of celebrating friendship, courtship, and marriage); Sotto Voce (a seductive choreography by Augustus Damian III); Reve (a choreography by Ernest Mandap fusing the music of Metallica and classical ballet in a story of twins trying to find their individuality); and Sayao sa Pamlang (a choreography of Agnes Locsin combining the movements of Pangalay, a dance to show the beauty and gracefulness of the hands, Sagayan, a dance to drive evil spirits, Kzudaratan, a dance to show a manner of walking, and Kuntao,  a dance of the martial arts).

The shows also highlighted Agila (a solo mimicking the movements of a soaring eagle); Arachnida (a modern dance piece about spiders mating); Don Quixote Grande Pas de Deux (the famous wedding pas de deux or “step of two” of Kitri and Basilo from the Russian classic); Le Corsaire Pas de Deux (dance of kidnapped princess Medora with Ali, the slave devoted to the pirate Conrad); the balcony scene from Romeo and Juliet back-to-back with Summer’s End (a whimsical pas de deux of a girl and a boy who meet and fall in love one summer day), and Mga Awit at Sayaw  (dance featuring Filipino pop songs).

Recognizing the significance of baring dancers to the international ballet scene, Lisa says Ballet Manila will also collaborate with the Singapore Dance Theater via an exchange program this month. The company will be featured in Ballet Under the Stars at the Fort Canning Center in Singapore on July 15, 16, and 17 while the Singaporean ballet company will be coming to Manila to perform with Ballet Manila in a show titled ‘Masterpieces in Motion’ at the Aliw Theater on July 29 and 30.

“I think it’s very important to expose young dancers to different artists, choreographies, and companies. You encounter different dance techniques, work ethics, and a whole different culture. They are also exposed to colleagues in a learning, collaborative setting. One can exchange ideas, ballets, and even dancers. It’s also a wonderful opportunity to get exposure to a different audience. In fact, it is very common to have sister ballet companies that share ballets, sets, costumes, and theater venues because both companies end up benefiting from combining resources,” Lisa notes.

From the looks of it, it seems that Lisa has taken good care of her ballet company so much so that it will be able to stand on its own when she as prima ballerina decides to step down in the near future. “My major assignment as principal dancer and artistic director of the company is to let my 53 dancers be on their own, to not be dependent on me, and to live on and prosper after I leave the stage,” she discloses.

“As a dancer, my goal has always been to improve, jump higher, turn faster, and be able to give stronger performances technique-, artistry-, and character-wise, but I’ve accepted that I can never go back to my 20-year-old body. I’ve now psyched myself not to plateau because of the enforced limitation of my 47-year-old body. Every day, it will be the same thing. The young dancers will always jump higher than I can. I’ve long accepted that kung hindi baka ma-depress or magpakamatay ako,” she frankly says of her impending retirement.

Lisa further says, “But other dancers can never have my experience. Walang kapalit ‘yun. I’ve nothing else to prove or to say. So now I can relax a little bit. And even if my performances won’t be nearly as perfect as they used to be, at the end of the day, my family will still love me.”

But when you’re the Lisa Macuja-Elizalde, just how much your performances would fare won’t seem to matter anymore even if they’re immaculate to begin with. When you’re the Lisa of Philippine ballet and when you’ve achieved the level of gravitas she has reached, your fouettés en tournant, grand jetés, and pirouettes have already been etched in those whom you have touched and inspired even before you take center stage and finally dance your beautiful swan song.

For more inquiries about Ballet Manila, its shows, and its programs, call 400-0292 or 525-5967; e-mail info@balletmanila.ph; or visit www.balletmanila.ph.