BP Company Members Triumph at the1st CCP Ballet Competition



Parungao in the Giselle variation from Act I. Photo by Victor Ursabia


At the 1st CCP Ballet Competition Senior Division held last November 8, 2014, our own Ballet Philippines artists garnered top prizes.

Both BP dancers Denise Parungao and Garry Corpuz placed first in their own gender category. A soloist at BP, Parungao danced the Giselle variation from Act I and GRO – a contemporary dance piece by Erl Sorilla. Corpuz, a junior company member, danced the Actaeon variation from the Diana and Acteon Pas de Deux and “Overthinking” – a contemporary dance piece by Richardson Yadao.



Corpuz in the Actaeon variation and Reyes in the Diana Variation. Photos by Victor Ursabia


Victor Maguad and Jemima Reyes also placed second and third respectively in their own gender categories. Maguad who is a company member, danced the Cavalier variation from Nutcracker Act II and Earl John Arisola’s contemporary dance piece, “Ba-skill”; while junior company member Reyes danced the Diana variation from the Diana and Actaeon Pas de Deux and Sorilla’s contemporary dance piece, “Reveries”.

Sorilla himself won the Trudl Dubsky Choreography Award for his piece “Dolores” which tackles the hardships of cancer.

Parungao in GRO. Photo by Victor Ursabia


Catch them dance with the company alongside guest actors in MANHID. This superhero musical runs from February 20 to March 8, 2015 at the CCP Main Theater. For tickets and inquiries call (02) 551-1003/ (02) 832-3704 or go to ballet.ph/shows/manhid

CCP Dance School Auditions





Dance with us! CCP Dance School will be holding SCHOLARSHIP AUDITIONS on Jan. 10, 2015 Saturday at the CCP Rehearsal Hall (1:00pm for CCPDS scholars ages 9-13 and male beginners up to age 20 with any dance background; 2:00pm for Intermediate and Advanced levels).

All applicants are required to submit 2 pcs. 1x1 ID pictures attached to their audition form and dance resume with their audition fee of P200 prior to the audition. For more information, call 833-3244 or email This email address is being protected from spambots. You need JavaScript enabled to view it. .

Ballet Philippines Tours the US and Canada in October 2014

The Philippines’ flagship dance company sets out in October on a tour of the United States West Coast and Canada, performing Master Pieces: Celebrating 45 Years of Dance.


Pasadena Civic Auditorium in Los Angeles, CA (October 4) | 8:00 PM

300 East Green Street, Pasadena, California 
For tickets call: 626-449-7360
Ticket prices: $45 | $35 | $25

California Theater in San Jose, CA (October 12) | 7:30 PM

345 South First Street, San Jose, California 95113 
For tickets call: 408-792-4111
Ticket prices: $65 | $45 | $35 | $25

Lincoln Performance Hall, College of the Arts, Portland State University, in Portland, OR (October 15) | 7:00 PM

Lincoln Performance Hall 1620 SW Park Ave
Ticket prices:  
General Public $25.00
Discount prices for: Seniors $22.00, Students and Youth 17 & under $18.00, PSU Students and Faculty & Staff $18.00.

Kenneth J. Minneart Center for the Arts, South Puget Sound Community College in Olympia, WA (October 17) | 7:30 PM

2011 Mottman Road SW Olympia, Washington 98512 
For tickets call: Washington Center for the Performing Arts | 360.753.8586
Ticket prices: $50 I $25 I $15

Highline Performing Arts Center in Burien, WA (October 22) | 7:30 PM

401 South 152nd Street, Burien, Washington 98148 
For tickets call: PAVISON - 206.498.0572
For more information, email: This email address is being protected from spambots. You need JavaScript enabled to view it.
Ticket prices: $65 I $35 I $25

River Rock Casino Resort in Richmond, British Columbia (October 26) | 6:00 PM

8811 River Road, Richmond, BC V6X3P8 
Ticket Prices: $65 | $55 | $45


The Repertoire*


FARANDOLE (Choreographed by George Birkadze; Music by Georges Bizet)

This neo-classical piece set to music of Bizet showcases the dancers’ athleticism and bravura with a slightly Spanish flair that echoes the Filipino’s hispantic history and tradition.

AKU (Choreographed by Alden Lugnasin; Music by Jessie Lucas)

This is a technique piece to test man’s physical limits and possibilities in body movements. This dance was heralded at the 9th Concours International De Danse de Paris in France in December 2000. Described as different and beautiful, it showcases the dancers’ unique understanding of the contemporary Filipino dance style.

BUNGKOS SUITE (Choreographed by Alice Reyes; Music by Velarde- Obispo (Dahil Sa Iyo), Kasilag (Chitchiritchit), Kasilag-Velasco (Dandansoy), Paguio (Manang Biday), Obispo (Telebong)

A collection of traditional and popular folk songs reflecting various moods but especially highlighting the playfulness, amorousness and sense of humor of the Filipino.

HALIK (Choreographed by Paul Alexander Morales; Music by Jed Balsamo)

This dance excerpt from Ballet Philippines’ 41st Season production Crisostomo Ibarra, a dance retelling of a seminal novel Noli Me Tangere (Touch Me Not) authored by Philippine National Hero, Dr. Jose Rizal. Managing to escape prison with the help of Elias, Ibarra visits Maria Clara to give his forgiveness and to say goodbye. She tells him the truth about her real father again asking Ibarra for his forgiveness. Finally he understands. They embrace each other and kiss.

AFTER WHOM (Choreographed by Augustus “Bam” Damian; Music by Jerrold Tarog)

After Whom is a bold showcase for BP’s dynamism and bravado. It highlights the company’s prowess in the modern, contemporary and neo-classical genres.

FOR THE GODS (Choreographed by Denisa Reyes; Music by Fabian Obispo)

Inspired by the ‘Dugso‘ folkdance from Bukidnon, this modern workTribal women celebrate the age-old rites of birth and sacrifice in this passionate affirmation of the timeless female principle of life.

MORIONES (Choreographed by Agnes Locsin)

Inspired by the Moriones Festival of Marinduque, Locsin’s Moriones was choreographed for Ballet Philippines II’s participation at the Recontres Festival Du Danse in La Baule, France. It was also a study for movement for the Guardias Civil dance for the modern ballet “Encantada”.

NOCTURNE (Choreographed by Carlo Pacis, Music by Felix Mendelssohn)

The final duet from A Midsummer Night’s Dream showcases the reconciliation of Titania and Oberon as imagined by Hong Kong- based Flipino choreographer, Carlo Pacis. The production won a lion’s share of awards at the 2013 Philstage’s Gawad Buhay! Awards including Outstanding Modern Dance Production and Outstanding Choreography.

TAMBOL AT PADYAK (Choreographed by Tony Fabella; Music by Samuel Asuncion, Malek Lopez, and Pinikpikan)

Set to local beats, global beats and heartbeats, this award-winning and audience-rousing work is full of youthful energy which mirrors the Filipinos’ joy of living.  This showstopper, utilizing the local “bakya” (wooden slippers) to amplify its rich rhythm, has wowed adults and children, foreigners and expatriates ever since it premiered at the Cultural Center of the Philippines.

*Repertoire subject to change

Get to know our guest artists Stella Abrera and James Whiteside

Everyone's looking forward to Giselle in September, and for good reason! Joining our cast of highly talented dancers are Stella Abrera and James Whiteside of the American Ballet Theatre. They will be essaying the roles of Giselle and Albrecht, respectively, on the fundraising gala on September 19, 8PM.

Born in Manila, Stella Abrera began her ballet training with Philip and Charles Fuller and Cynthia Young in Pasadena, and continued her studies with Lorna Diamond and Patricia Hoffman in San Diego.  She then spent three years studying the Royal Academy of Dancing method with Joan and Monica Halliday at the Halliday Dance Centre in Sydney, Australia.  Ms. Abrera received the Gold Medal at the Royal Academy of Dancing’s Adeline Genée Awards in London in 1995.
Ms. Abrera joined American Ballet Theatre as a member of the corps de ballet in 1996 and was appointed to Soloist in 2001.  Her repertoire with ABT includes Cinderella in James Kudelka’s Cinderella, Gamzatti in Natalia Makarova’s La Bayadère, Myrta and the Peasant pas de deux in Giselle, Gulnare in Le Corsaire, The Ballerina in Alexei Ratmansky’s The Bright Stream, Lescaut’s Mistress in Kenneth MacMillan’s Manon, the Sugar Plum Fairy and the Snow Queen in Kevin McKenzie’s The Nutcracker, the Lilac Fairy and Princess Florine in The Sleeping Beauty, Hermia in Ashton’s The Dream, and the First Passerby in Robbins’s Fancy Free, among many others.  
Ms. Abrera has performed as a guest artist across the United States and Europe.  In the autumn of  2011 for a period of two months, she was guest principal with The Royal New Zealand Ballet and danced the role of Princess Aurora in the world premiere of their The Sleeping Beauty.  In the summer of 2013, she danced the title role in Giselle in New Mexico.  She has danced featured roles in the PBS Dance in America national broadcasts of The Dream and Swan Lake, and has been profiled in publications such as Pointe and Dance Magazine, where she appeared on the covers of the January 2004 and April 2010 issues.
Born in Fairfield, Connecticut, James Whiteside began his training at age nine at the D'Valda & Sirico Dance and Music Centre, where guest faculty included Charles Kelley, Franco De Vita and Raymond Lukens. He continued his training at the Virginia School of the Arts for one year under the direction of Petrus Bosman and David Keener. In 2002, Whiteside joined Boston Ballet II, where he continued to train under the tutelage of its director Raymond Lukens, now director of ABT's National Training Curriculum. Whiteside joined the corps de ballet of Boston Ballet in 2003 and became a second soloist in 2006. He was promoted to first soloist in 2008 and to principal dancer with Boston Ballet in 2009.
Whiteside’s repertoire with Boston Ballet included principal roles in George Balanchine’s Theme and Variations, Coppélia, Ballo della Regina, Rubies, The Four Temperaments (Sanguinic), Tchaikovsky Pas de Deux, Who Cares?, Serenade, A Midsummer Night’s Dream, Symphony in 3, and La Valse; Maina Gielgud’s Giselle; Mikko Nissinen’s The Nutcracker and Swan Lake; John Cranko’s Taming of the Shrew and Romeo and Juliet; Marius Petipa’s The Sleeping Beauty and Raymonda, Act III; Antony Tudor’s Dark Elegies; Jirí Kylián’s Sarabande, Petit Mort and Sechs Tänze; Twyla Tharp’s In the Upper Room and Mark Morris’ Drink to Me Only With Thine Eyes.  He created roles in Jorma Elo’s Brake the Eyes, Plan B, Carmen, Slice to Sharper and In on Blue; Helen Pickett’s Eventide and Etesian; Mark Morris’ Up and Down and Heather Myers’ Gone Again.
Whiteside joined American Ballet Theatre as a Soloist in September 2012 and was named a Principal Dancer in October 2013. His repertoire with the Company includes Ali, the Slave in Le Corsaire, Basilio and Espada in Don Quixote, Lescaut in Manon, the Nutcracker Prince in Alexei Ratmansky's The Nutcracker, Prince Gremin in Onegin, Romeo in Romeo and Juliet, Prince Désiré in The Sleeping Beauty, Prince Siegfried and von Rothbart (Ballroom) in Swan Lake, Orion in Sylvia, Caliban in The Tempest, Lescaut in Manon, and roles in Bach Partita, Gong, Theme and Variations, Chamber Symphony, Drink to Me Only With Thine Eyes, In the Upper Room and Symphony in C.


Ballet Philippnes Goes on Tour in North America