MANILA, Philippines – Dance as local balletomanes see it is not what it used to be.

The lengthier play dates, consistent full houses and stronger support from both the public and private sectors of old have now been replaced by huge subsidized budget cuts, loss of decent dancers and choreographers, dismal ticket sales, and untimely organizational shakeups.

It is a wonder then that the Philippines’ three major ballet companies still managed to open their performance seasons with shows that amazed, entertained and prompted recollections about the dancing days of old.

Unusual, bold

Perplexed audiences in Ballet Manila’s “Halo-Halo Extra Special” saw Lisa Macuja-Elizalde, BM artistic director, madly flailing across the stage with eyes wide and hair askew in Sergey Vikulov’s reverently applauded “Madness.”

Macuja-Elizalde is usually more known as a conventional hair-in-a-bun and tutu-clad ballerina who dances in classical pieces such as Marius Petipa’s “Paquita,” the first number of the evening.

Even more unusual and bold during BM’s annual mix of traditional and nontraditional ballets was Ernest Mandap’s “Gomburza,” which made soloists Gerardo Francisco, Niño Guevarra and Alvin Santos interpret a chronicling of the lives of the three Filipino priests who inspired the Propaganda Movement during the Spanish era – all while blindfolded.

Francisco’s “OFW” (formerly titled “Balikbayan”), which won first place at the New Choreographers Competition during this year’s Wi-Fi Body Independent Contemporary Dance Festival, took the place of “Gomburza” on some performances.

BM also added Augustus “Bam” Damian III in its formidable roster of choreographers. Each of his three works, “Sotto Voce,” “M.A.Z.N.” and “Reconfigured,” showcased the skills and strengths of the male and female BM dancers, especially through his trademark lifts that are daring yet fluid.

As tribute to Tony Fabella, BM aptly concluded its show with a reprise of the late choreographer’s catchy and hilarious “Ang Mahiwagang Biyulin” from last year’s successful books-to-ballet “Basyang” trilogy.

Macuja-Elizalde led Fabella’s signature “cast of hundreds” as the dancing narrator (more like page-turner of the giant book illustrated by Frances Alcaraz), with violin-wielding Francisco as Rodrigo and mustache-wriggling Marcus Tolentino as Rodrigo’s villainous employer, Ahab.

Quiet elegance

With new appointees – Paul Morales as artistic director and Margie Moran-Floirendo as president – 40-year-old Ballet Philippines opted for muted bombast this year, as shown during the gala night of “Masterworks.”

The opening-night audience traveled through time in formidable restagings and excerpts of works by the company’s past artistic directors – most of whom helped shape Philippine dance.

All the BP dancers admirably articulated each of the choreographic greats: “Romeo and Juliet” Balcony Scene by Alice Reyes (BP founder); “Igorot” by Agnes Locsin; “Bach Concerto” restaged by Cecile Sicangco; “Te Deum” by Denisa Reyes; “Ensalada” by Edna Vida-Froilan; “Swimming in the Ilog Pasig” by Alden Lugnasin; and “Evacuation” by Damian.

Camille Ordinario-Joson was especially lucid in her solo performance of an excerpt from Fabella’s “Gaano Kadalas.” Barefoot and dressed in a simple red dress, Ordinario-Joson was effective as an extremely wretched giver of unreciprocated love, as she tried – but failed – to win her man back.

Set and costume designs by National Artist Salvador “Doy” Bernal, plus live renditions by the Manila Symphony Orchestra and the University of the Philippines chorus, added to the quiet elegance of the evening.

Southern flavor

Philippine Ballet Theater’s “Darangen ni Bantugen” evoked the same feelings of wonder and respect toward the culture and people of the South as when the company first staged the Maranao epic last year.

Co-choreographers Gener Caringal and Ronilo Jaynario (new artistic director) focused on the journey, death and resurrection of Prince Bantugen, the most popular hero among the people in Lake Lanao – based on the story by Lourdes Sanchez and Arsenio Manuel.

“Bantugen” oozed with much flavor from the South. The unmistakable sounds of kulintang-and-gong ensemble by composer Jesse Lucas complemented well the malongs, big fans and boldly colored costumes that were designed by Bernal.

The PBT cast has vastly improved in synchronization of movement and expression. Siblings Jared and Abigail Tan were especially difficult to ignore as the robust Prince Bantugen and the sinewy, ever-watchful Diwata, respectively.

The two have just left for the US to join the American Repertory Ballet in New Jersey.

“Darangen” was commissioned by the Filipino Heritage Festival as the centerpiece of the month-long National Heritage Month festivities.

It has been performed in several venues in Metro Manila and the Visayas, and in China during the 10th Asian Art Festival in Henan.

The rest of the season performances are as follows: Philippine Ballet Theater – “Mir-I-Nisa,” November 6-8. Ballet Manila –“Lisa @ 25,” October 9-11; “Alamat: Si Sibol at Si Gunaw,” December 4-13; “Ballet & Ballads,” February 12-21. Ballet Philippines – “Tales of the Manuvu,” October 23-25; “The Nutcracker,” December 3-13; “Neo Filipino,” March 5-7, 2010.

E-mail the author at elkarequinta@gmail.com