Cover Shamira Drapete and Jos David Andes as Paquita and Lucien D’Hervilly in Ballet Manila’s ‘Paquita’ (Photo: Konrad Ong)
Shamira Drapete and Jos David Andes as Paquita and Lucien D’Hervilly in Ballet Manila’s ‘Paquita’ (Photo: Konrad Ong)
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Lisa Macuja-Elizalde’s full-length world premiere of ‘Paquita’ breathes vibrant new life into the classical ballet masterpiece, offering audiences an enthralling and emotionally satisfying narrative of love and identity
The first-ever full-length presentation of Paquita by Ballet Manila successfully premiered to audiences during its invitational gala on June 18 and ran until June 21. Choreographed by the company’s artistic director and chief executive officer, Lisa Macuja-Elizalde, the two-act ballet expertly expands upon the traditional excerpts of the classic. Macuja-Elizalde incorporates elements from the original choreography by Pierre Malavergne, Joseph Mazilier and Marius Petipa, while introducing her own narrative structure to flesh out the characters. The resulting production stamps her masterful eye as both a choreographer and director.
Read more: Meet Lisa Macuja-Elizalde, the ballerina who brought ballet to the people
Above Abigail Oliveiro as Paquita (Photo: Konrad Ong)
Abigail Oliveiro as Paquita (Photo: Konrad Ong)
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The ballet explores the journey of Paquita, a young woman raised by gypsies who discovers her true noble heritage. The story begins with a newly added prologue set to extra tracks from Kevin Galie’s orchestrations, establishing the tragedy of her abduction. The narrative then shifts to the French occupation of Spain, where she meets the French officer Lucien D’Hervilly. The core conflict involves a love triangle between her, Lucien and the gypsy leader Iñigo, complicated further by an assassination plot orchestrated by the Spanish Governor, Don Lopez de Mendoza.
Reflecting on her creative vision for the piece, Macuja-Elizalde shared her lifelong fascination with the protagonist. “All my life I have always been intrigued by the story behind Paquita,” she noted, recalling her extensive history dancing the famous excerpts and variations. “I never really understood her story until I finally made the decision to present the first-ever full-length ballet Paquita as part of the PRIMA season of Ballet Manila early last year.”
Above The cast of ‘Paquita’ composed of dancers from Ballet Manila and Lisa Macuja School of Ballet (Photo: Konrad Ong)
The cast of ‘Paquita’ composed of dancers from Ballet Manila and Lisa Macuja School of Ballet (Photo: Konrad Ong)
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To make the story accessible, Macuja-Elizalde elaborated on the character dynamics. “As I tend to do when I re-choreograph the classics, I made all the previously mime-only roles into dancing roles.” She emphasised the importance of clarity for modern audiences, stating, “I wanted the story to make sense to the viewers who had absolutely no prior knowledge about Paquita. I didn’t want the audience to have to assume anything.”
Her vision ultimately frames the ballet as an uplifting narrative: “I’ve always thought of Paquita to be a happy counterpart of Giselle—because in the end, she is chosen and she weds the nobleman, after assuming that she cannot wed a nobleman because of her humble peasant beginnings.”
During the invitational gala, Abigail Oliveiro commanded the stage as Paquita. She exuded remarkable clarity in her mimes and facial expressions, allowing the audience to easily ride her emotional arc. Her strength and endurance in executing the demanding choreography were consistently impressive. Opposite her, Mark Sumaylo brought the role of Lucien to life. The chemistry between Oliveiro and Sumaylo was undeniably present, anchoring the central romance with genuine warmth and connection. Alternating them in other shows were Shamira Drapete and Jos David Andes.
Above One of the scenes in Ballet Manila’s ‘Paquita’ (Photo: Konrad Ong)
One of the scenes in Ballet Manila’s ‘Paquita’ (Photo: Konrad Ong)
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The supporting cast delivered equally compelling performances. A notable scene-stealer was Martin Lawrence, who made a memorable cameo appearance as Paquita’s father during the prologue. However, it was Romeo Peralta who truly commanded attention with his portrayal of the gypsy leader Iñigo. Peralta tackled the physically demanding character with explosive energy, effectively conveying the antagonist’s volatility.
The production was elevated by the recorded musical accompaniment of the Evergreen Symphony Orchestra, conducted by Kevin Galie. In general, all performers across the Ballet Manila company exuded mastery in technique and endurance. This collective dedication made the most memorable choreographic sequence the grand finale. During this culmination, all the dancers exuded infectious energy and grace, ensuring the full-length ballet never felt too long.
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Before assuming the Art and Culture Editor position, Franz has always had a penchant for visual and performing arts. He is passionate about exploring and writing about the local cultural scene and rediscovering the country’s storied past and rich heritage. Besides working on this luxury lifestyle magazine, Franz is an avid book reader, local traveller, museum-goer, chorister, and community theatre playwright.
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Franz earned a degree in Journalism from the University of Santo Tomas. He writes about local visual and performing artists and their craft; drinks wines, liquors, and spirits and talks about the creativity of their respective winemakers and master blenders; tries to learn more about business and investments; respects the tradition and artistry that go behind the making of watches and jewellery; and appreciates the genius of architecture and creative design.
As head of Tatler Philippines’ pool of writers, he helps them bring impactful and socially relevant stories to light.
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