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Alice in Wonderland

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<div><span class="fr-img-caption fr-fic fr-dib" style="width:960px;display:block" width="960"><span class="fr-img-wrap"><img src="https://od2-image-api.abs-cbn.com/prod/editorImage/1765349426429REGINA MAGBITANG AS RED QUEEN AND JEMIMA REYES-OCAMPO AS ALICE COURTESY OF BALLET PHILIPPINES  (8).jpg" style="width:960px" class="fr-fic fr-dib" width="960" alt="Regina Magbitang as Red Queen and Jemima Reyes-Ocampo as Alice. Ballet Philippines "/><span class="fr-inner" style="text-align:left">Regina Magbitang as Red Queen and Jemima Reyes-Ocampo as Alice. <em>Ballet Philippines </em></span></span></span></div><p>The Philippine Christmas season never feels complete without the annual holiday ballet offerings from the country’s premier dance companies. What better way to usher in the festive spirit than by dressing up and showing up at the theatre to be swept away by a colorful, joyful production?</p><p>This year, Philippine Ballet Theatre brought their annual &quot;Nutcracker&quot;: to Cebu, Alice Reyes Dance Philippines continued their tradition with &quot;Puso ng Pasko,&quot; and Ballet Manila is set to stage their holiday classic &quot;Snow White.&quot; </p><p>Ballet Philippines, however, went in a different direction. Instead of choosing a tried-and-tested holiday favorite, they gambled on a completely new full-length ballet: an adaptation of Lewis Carroll’s &quot;Alice in Wonderland.&quot;</p><p>Carroll’s story, published 161 years ago, has been retold countless times across literature, film, and theatre. In ballet, there are only a handful of versions — each memorable, each raising the stakes. The most famous include Christopher Wheeldon’s &quot;Alice’s Adventures in Wonderland&quot; and Septime Webre’s &quot;Alice in Wonderland.&quot;</p><p>Consistent across these well-known versions was a flamboyance — and almost a gluttony — for anything and everything spectacular. From puppetry, magical illusions, laser lights, transforming sets, and a fusion of dance styles from tap to contemporary to acrobatics, every &quot;Alice in Wonderland&quot; production I have seen thus far capitalized on the frills to frame the absurdity of Wonderland. These productions set the bar incredibly high. With all this history, &quot;Alice&quot; is not an easy ballet to take on. It is an ambitious, high-risk choice.</p><p>The curtains opened and closed at The Theatre at Solaire last December 5, revealing the unexpected. There were none of the usual spectacles — only a story brought to life through movement and a fleet of dancers whose hearts were fully on display. With a beautiful set and functional, movable accents, embellished costumes, the curtains rose to showcase their art. Yet in its simplicity, the performance carried a message — one still potent enough to be both heard and felt by the audience.</p><div><br/></div><div><strong>Classic characters with new stories</strong></div><p>Mikhail Martynyuk’s newest ballet is a reimagination of the original story and presents Alice not as a child but as a blooming young adult navigating life as a sheltered woman. He used his artistic liberty and tweaked some of the characters to reveal different layers of personal discovery.</p><div><span class="fr-img-caption fr-fic fr-dib" style="width:960px;display:block" width="960"><span class="fr-img-wrap"><img src="https://od2-image-api.abs-cbn.com/prod/editorImage/1765350563975COURTESY OF BALLET PHILIPPINES  (5).jpg" style="width:960px" class="fr-fic fr-dib" width="960" alt="A scene from &#x27;Alice in Wonderland.&#x27; Ballet Philippines"/><span class="fr-inner" style="text-align:left">A scene from &#x27;Alice in Wonderland.&#x27; <em>Ballet Philippines</em></span></span></span></div><p>The ballet opens with Alice reading a book, pursuing an understanding of the stories she has read. As she falls asleep with her book, a White Rabbit disturbs her peace and drags her down, down, down the rabbit hole into adventure. Stuck in a world she doesn’t fully understand, she is pushed to find her way back home.</p><p>She is thrown into a world where everyone, including animals and flowers, speaks with loud confidence and quirky opinions. Welcoming her to this Wonderland were the picturesque flowers that danced until she was led to the different characters who would teach her something about growing up and growing free.</p><p>In my understanding of this ballet (note: there was no synopsis in the program), she meets the unapologetically unique duo Tweedle Dee and Tweedle Dum, who teach her to embrace her uniqueness because everyone in Wonderland is happily wonderful. She meets the exotic Caterpillar of guidance, who tells her to find herself in Wonderland — consistent with the original book. She lets the Cheshire Cat, who in this version is not threatening, teach her about loyalty and friendship as he stands by her side in Wonderland. Also consistent with the original story, she meets the Mad Hatter and his friends, initially bullies, whom she eventually befriends. She has a magical tea party where she embraces the madness, claims a seat at the table, and forms friendships as sweet as their shared cup of tea.</p><p>Martynyuk introduces a new character to explore Alice’s coming of age: the Prince of Wonderland, who makes her young heart flutter for the first time. The Prince is equally captivated by Alice, who stands out among every character he has encountered thus far. It is an introduction to young love, a budding interest, a first crush, and a first blush.</p><p>As she continues her travels, Alice pursues the Queen, hoping she might help her get back home. But what she discovers shocks her sheltered heart. Everyone in Wonderland answers to the Queen’s every request. Even if they are all uniquely beautiful characters, they still bow to her authority.</p><div><span class="fr-img-caption fr-fic fr-dib" style="width:960px;display:block" width="960"><span class="fr-img-wrap"><img src="https://od2-image-api.abs-cbn.com/prod/editorImage/1765350606295COURTESY OF BALLET PHILIPPINES  (2).jpg" style="width:960px" class="fr-fic fr-dib" width="960"/><span class="fr-inner" style="text-align:left">A scene from &#x27;Alice in Wonderland.&#x27; <em>Ballet Philippines</em></span></span></span>The Queen is the ultimate bully who gets her way in everything. She wins her croquet matches by cheating and eliminating the competition. She sets her eyes on the Prince despite already having a King, and is displeased that he seems to be interested in someone other than her, classic mean girl. At the first opportunity — when the King blames the Prince for the Queen’s missing cookies — she wants him punished out of spite.</div><p>Alice, shocked by what is happening, finally finds her voice and screams, “STOP!” She fights for the Prince, but without resolution, the world begins to spin into madness… and she is suddenly back in reality.</p><div><br/></div><div><strong>Changed for good</strong></div><p>Martynyuk’s version is not only about growing up and finding an identity; it primarily focuses on unearthing a young adult and revealing the ruthlessness of the world. The ballet raises awareness of what injustice looks like — how the powerful can twist words and situations to their advantage. It highlights the beauty of unapologetic uniqueness and why we should embrace it. It shows that the world is bigger than your space, your views, and your comfort zone. It emphasizes the power of inclusion and bravery. </p><p>Above all, it underscores that your heart and your words can change a scene — perhaps even a page — in your own story. To quote from the original text, “I can’t go back to yesterday because I was a different person then.” Her unique experience (newly refined in this version) remains true to this sentiment; Alice has reawakened from a dream that speaks to realities she is now ready to confront.</p><p>This is the author’s perspective on the visual presentation, but I must say my understanding is based on several encounters with the material. But  I think the kids and perhaps purists will find some of the tweaks uncomfortable and some scenes confusing. I believe not everyone fully grasped the libretto as it was intended. I did, however, find value in the message that they were trying to convey.</p><div><span class="fr-img-caption fr-fic fr-dib" style="width:960px;display:block" width="960"><span class="fr-img-wrap"><img src="https://od2-image-api.abs-cbn.com/prod/editorImage/1765352240955EDUARDSON  EVANGELIO COURTESY OF BALLET PHILIPPINES  (6).jpg" style="width:960px" class="fr-fic fr-dib" width="960" alt="Eduardson Evangelio as White Rabbit. Ballet Philippines "/><span class="fr-inner" style="text-align:left">Eduardson Evangelio as White Rabbit. <em>Ballet Philippines </em></span></span></span></div><p>Having said that, the storytelling could be improved. Each character was carefully crafted, but their introductions to Alice seemed rushed and lacked grounding. For instance, those who don&#x27;t know about the Caterpillar character would not even understand that he was a caterpillar and that his role was to guide her self-discovery. </p><p>Those who don&#x27;t know the story about the Mad Hatter not wanting to give Alice a seat at the table because she wasn&#x27;t &quot;mad&quot; like them would not have understood the speedily done pantomime about kicking her out and isolating her; instead, they would retain more the memory of how inviting and instantly gracious they were. After all, the Mad Hatter did offer several hats and even a new tutu. </p><p>Choreographically, the transitions from scene to scene could have been more patient and nuanced; there was always so much happening that it was hard to focus on each character’s unfolding story.</p><div><br/></div><div><strong>All eyes on the performers</strong></div><p>Choreography for the leads, particularly Alice and the Red Queen, resembled a cardio workout of jumps and turns, with little opportunity to breathe and steps that could have been more nuanced. Was it beautiful? Yes, because the dancers brought their art and heart to the performance. Was it necessary to pepper it so much? Perhaps not.</p><p>In contrast, some parts of the ensemble dances were too simple for my taste. But I have to admit, several moments in the ballet stood out and merited my enthusiastic applause.</p><p>Act II, featuring the Red Queen and the dance of the cards, was a showstopper. Showcasing precision, technique, and energy, the ensemble executed unified partnered lifts, with each member displaying unique and animated expressions that were amusing.</p><div><span class="fr-img-caption fr-fic fr-dib" style="width:960px;display:block" width="960"><span class="fr-img-wrap"><img src="https://od2-image-api.abs-cbn.com/prod/editorImage/1765351920714JUMPING CARDS ENSEMBLE MARGARETTE ESPIRITU  LARRY SALGADO .jpg" style="width:960px" class="fr-fic fr-dib" width="960" alt="Jumping cards ensemble. Larry Salgado"/><span class="fr-inner" style="text-align:left">Jumping cards ensemble. <em>Larry Salgado</em></span></span></span></div><p>Act II also served as a divertissement, showcasing the company in a Nutcracker-like manner — their diversity, technique, and commitment to characterization.</p><p>The best part of seeing this ballet was witnessing the growth of the dancers. The entire company demonstrated great effort, from the ensemble to the soloists to the leads. Perfectly cast as Alice, Jemima Reyes-Ocampo seemed to glow under the spotlight. Her acting has improved, revealing greater depth in her interpretations. She was both awkward and endearing as a young woman trying to sort through her readings. She glided through her steps,  grand jetés, numerous fouettés, and arabesques, easily conquering her fouettés. The most notable aspect of her performance is that she seemed unstoppable in any challenge.</p><p>Also perfectly cast as the Red Queen, Regina Magbitang made me laugh. Her characterization was flawless — from sharp head turns to rolling eyes and hand flicks; it seemed she was born for this role. She appeared to have a blast in every scene, fully embracing the opportunity to be the meanest of the mean. Her technique was glorious, with comfortable triple pirouettes and floating balances on arabesques. </p><p>Both women did a great job, and despite the cardio workout, more variety in the steps could have elevated their performance.</p><div><span class="fr-img-caption fr-fic fr-dib" style="width:960px;display:block" width="960"><span class="fr-img-wrap"><img src="https://od2-image-api.abs-cbn.com/prod/editorImage/1765352093105EMMANUEL GUILLERMO AS KING,  REGINE MAGBITANG  AS RED QUEEN AND RUDOLPH CAPUNGCOL AS WONDERLAND PRINCE.jpg" style="width:960px" class="fr-fic fr-dib" width="960" alt="Regina Magbitang as Red Queen with Emmanuel Guillermo as King and Rudolph Capungcol as Wonderland Prince. Ballet Philippines"/><span class="fr-inner" style="text-align:left">Regina Magbitang as Red Queen with Emmanuel Guillermo as King and Rudolph Capungcol as Wonderland Prince. <em>Ballet Philippines</em></span></span></span></div><p>Notable performances include Rudolph Capungcol&#x27;s Prince, who solidified his standing as the best male classical dancer of the season with his crisp leaps, beats, and alasecond turns, including an impressive seven-turn pull-in. Peter San Juan, as the Mad Hatter, displayed wonderful character acting, elevating each of his scenes to a theatrical experience. Eduardson Evangelio, as the frantic White Rabbit, was quick on his feet and pristine in his technique. </p><p>All the soloists did an exceptional job. The dancing was the high point of the ballet; the clarity of technique and characterization carried the production and upheld the dignity of the show. Clearly, BP has worked hard on elevating the company’s technique. </p><div><br/></div><div><strong>Music on repeat</strong></div><p>The music was the weakest point. As mentioned earlier, most &quot;Alice in Wonderland&quot; productions go to great lengths to pay for the frills, including custom-made music. Clare De Bussy’s compositions fit the whimsical feel of Wonderland, but the repetition — particularly for Alice and the Red Queen variations — dampened the impact.<br/><br/>The score, based on extended versions of Debussy’s &quot;Passepied,&quot; became overstretched, plateauing instead of offering emotional highs and lows. More musical textures could have supported the storytelling and enhanced the overall experience.</p><p>Overall, this ballet presented a bold concept with a meaningful message at its core — a message I believe is worth sharing with the world. While I noticed a spark in the dancing, a few adjustments in pacing, characterization, and musical variety could have made the storytelling clearer and more impactful. </p><div><span class="fr-img-caption fr-fic fr-dib" style="width:960px;display:block" width="960"><span class="fr-img-wrap"><img src="https://od2-image-api.abs-cbn.com/prod/editorImage/1765351887636JEMIMA REYES-OCAMPO AS ALICE  PHOTO BY LARRY SALGADO.jpg" style="width:960px" class="fr-fic fr-dib" width="960" alt="Jemima Reyes-Ocampo as Alice. Larry Salgado "/><span class="fr-inner" style="text-align:left">Jemima Reyes-Ocampo as Alice. <em>Larry Salgado </em></span></span></span></div><p>Reimaginings and adaptations are valid, but they are most effective when the audience can engage with the story and grasp each part along the way. After all, ballet is for everyone. No frills, but all heart, the classic &quot;Alice in Wonderland&quot; was still a journey to somewhere new and exciting. Bravo Ballet Philippines.</p>

<p>Ballet Philippines moves away from traditional Christmas ballets and unveils a brand-new 'Alice in Wonderland' that delivers a heartfelt message through fresh choreography and standout performances.</p>

Ballet Philippines moves away from traditional Christmas ballets and unveils a brand-new 'Alice in Wonderland' that delivers a heartfelt message through fresh choreography and standout performances.

Dance review: Ballet Philippines breaks holiday tradition with 'Alice in Wonderland'

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Dance review: Ballet Philippines breaks holiday tradition with 'Alice in Wonderland'

ABS-CBN Lifestyle,

Erica Marquez-Jacinto

Published December 10, 2025 03:39 PM PHT

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dance review

Ballet Philippines

Alice in Wonderland

Solaire

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