ON ITS 40TH season, the new management and board of Ballet Philippines (BP) compare it to rebuilding a ship while it’s still at sea.

The new leadership faces the season with the optimism of winning back the audiences to the Cultural Center of the Philippines, finding new ways to raise funds and making the dances more progressive.

As the new artistic director, Paul Morales’ advantage is having a well-rounded background in the arts.

Pushing 40 and still impossibly boyish-looking, he became co-founder and artistic director of Dulaang Talyer and subsequently Airdance, known for their experimental works. Morales ventured into independent filmmaking and has gotten the nod from his peers.

“I’ve always wanted to go beyond the stage,” he says. “For me, choreography, theater, film, directing and writing are connected.”

Radical changes

On his acceptance of the position despite BP’s challenges, he replies with a chuckle: “I wonder about that myself. It was my dream.”

Ballet Philippines must have stirred his inner theater artist when he watched Cora Iñigo’s “Sisa,” starring Edna Vida, and Nonoy Froilan’s signature dance, “Songs of a Wayfarer” by Norman Walker, when he was a freshman at the University of the Philippines.

When he came on board in May, BP was undergoing radical changes in leadership, but there was no staff to work with. His first big challenge was to work on the season opener, “Masterworks,” in six weeks, despite the usual problems of budget and schedules.

Asked if he was scared about the rumored politics and fractions in the company, Morales replied diplomatically: “I can relate. I was reading ‘Dreams of My Father’ by Barack Obama. His realization was that ‘It’s not about me.’ With life and ambitions, I could be obsessed, focused and unhappy.”

Morales recalls Denisa Reyes’ documentary “Dance Can Make Them Dream Again” on the late choreographer Tony Fabella.

He was moved by how Fabella gave the street children hope for the future and instilled discipline when they trained for the Quezon City Performing Arts and the Hiyas ng Maynila Dance Company. Fabella’s message inspired people on the importance of vision, self-effacement and moving on.

“Artistic directors tend to take things personally and to be very sensitive about certain matters. I try not to be and focus on the bigger picture. That’s very empowering. All the dance artists want a better future for dance,” he says.

Sense of history

The 40th season repertoire will give the audience a sense of history.

“Masterworks,” which opened over the weekend, revives Alden Lugnasin’s acclaimed “Swimming the Ilog Pasig,” a timely work on the environment; Denisa Reyes’ “Te Deum,” a spiritual piece done after the Edsa Revolution; and Agnes Locsin’s “Igorot,” a technically challenging ballet infused with Cordillera motifs.

In October, Lugnasin will recreate an updated version of Alice Reyes’ “Tales of the Manuvu,” the story of the first man and woman. Morales says the homage will keep the spirit of the original choreography, even if it will have video and other effects.

Written by Bien Lumbrera with lyrics by Nonong Pedero in 1977, the pop ballet launched the careers of Leah Navarro and Hajji Alejandro. Morales says it’s a relevant piece today because it talks about a time when man and nature lived in a state of peace, purity and happiness.

It will also present “Our Waltzes,” by Venezuelan choreographer Vincent Nebrada.

Morales plans to write the librettos of “Manuvu” and “The Nutcracker,” BP’s Christmas offering, with Noordin Jumalon at the helm. In February, BP shows the annual choreographic showcase in “Neo Filipino.”

Morales hopes to redefine the ballet, make BP more progressive in contemporary works and, ultimately, offer a theater experience that is fresh and vital to the audience.

New officers

Meanwhile, Maan Hontiveros has moved up from BP president after 16 years to vice-chair. Margarita Floirendo is her successor, who is like the CEO. The new executive director, Leslie Noble, handles marketing, finance and human resources development.

As vice-chair, Hontiveros will be focusing on raising funds for CCP’s satellite center at Bonifacio Global City.

A focus-group discussion, conducted by board director Ana Singson, revealed that BP was not talking to the CD crowd and that audiences wanted live music and more Filipino works.

Hontiveros says BP will offer a P99 ticket, which can seat the audience in the orchestra or box. Singson is also organizing a sales force to sell block and individual tickets.

Asked how the state of the company can be improved, she shot back: “Hey, we have managed to stay afloat for 40 years. Don’t we get credit for that?”

For information about Ballet Philippines’ 40th season, call 832-6011 or 09289824101.