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The cast of the Opening Gala of the International Dance Day Festival. Handout

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<div><img src="https://od2-image-api.abs-cbn.com/prod/editorImage/1777013448091the cast.png" style="width:960px" class="fr-fic fr-dib" width="960" alt="The cast of the Opening Gala of the International Dance Day Festival. Handout"/>The cast of the Opening Gala of the International Dance Day Festival. Jyllan Bitalac</div>Legendary dancer Martha Graham once said, “Great dancers are not great because of their technique; they are great because of their passion.” That truth was apparent not only in the dancers onstage, but in everyone who brought the Opening Gala of the International Dance Day Festival to life. It sincerely felt that passion was not confined to the performance — it shaped the vision, the curation, and the experience itself. The opening gala last April 22 was a beautiful invitation for audiences to come back for more. Kudos to Ayala Land, Make It Makati, Steps Dance Studio, and, of course, Samsung Performing Arts Theater for creating an evening where dance was seen at its fullest.Consistent with the goals emphasized by CPAT managing director Christopher Mohnani, the program brought out the power of diversity. This third staging of the project reflected a clear determination to establish Makati as a cultural hub — one that can stand alongside international cities, with the arts at its forefront.<div><img src="https://od2-image-api.abs-cbn.com/prod/editorImage/1777012886228ABT Principal Dancers Christine Shevchenko and Thomas Forster in Sylvia Pas de Deux.png" style="width:960px;display:block;height:auto" class="fr-fic fr-dib" width="960" alt="ABT principal dancers Christine Shevchenko and Thomas Forster in &#x27;Sylvia Pas de Deux.&#x27; Handout"/>ABT principal dancers Christine Shevchenko and Thomas Forster in &#x27;Sylvia Pas de Deux.&#x27; Jyllan BitalacAligned with this goal, American Ballet Theatre (ABT) Studio Company swept Manila off its feet with a stirring performance. Under the direction of artistic director Sascha Radetsky, the company delivered a repertoire that captured the essence of ABT, featuring a range that reflected its standard of excellence.</div>The curation spoke for itself. The program featured three classical ballets, one modern interpretation of a classical work, three neoclassical pieces, and one contemporary ballet. The musical selections ranged from classical pieces to country, jazz, and eclectic scores. The choreographers reflected a rich spectrum — iconic masters such as Marius Petipa and Frederick Ashton, present-day giants like Twyla Tharp and Alexei Ratmansky, and rising dancer-choreographers including Tyler Peck, Yannick Lebrun, and Brady Farrar. And the cast — what a global assembly of talent from around the world. Despite a relatively small number of dancers, the program achieved remarkable balance. Solos, duets, trios, and ensemble pieces followed one another seamlessly, allowing each work to stand distinct while keeping the audience fully engaged and wanting more.Thirteen dancers showed not only technical brilliance but also a genuine love for their craft. The cast was a picture of youth and potential. While their technique captured attention, it was their vitality — their unmistakable zest for life — that made the audience fall in love with their dancing.ABT principal dancers Christine Shevchenko and Thomas Forster delivered their assigned pieces with ease, as expected. But what stood out for me were the younger dancers — Kayla Mak, Kiera Sun, Youngjae Park, and Geonhee Park.<div><img src="https://od2-image-api.abs-cbn.com/prod/editorImage/1777013002971Cornbread withKayla Mak and Elijah Geolina .png" style="width:960px" class="fr-fic fr-dib" width="960" alt="&#x27;Cornbread&#x27; with Kayla Mak and Elijah Geolina. Handout"/>&#x27;Cornbread&#x27; with Kayla Mak and Elijah Geolina. Jyllan Bitalac</div>Kayla Mak, who performed in &quot;Cornbread&quot; by Twyla Tharp and &quot;Human&quot; by Yannick Lebrun, was a crowd favorite. Already an internet sensation from &quot;World of Dance&quot; and her compelling presence on Instagram, the dance community was thrilled to finally see her live. Her musicality is impeccable — she seemed to catch every note, shaping each movement with precision yet with an organic, almost spontaneous quality. Her range was beautiful; nearly every step felt like a picture. Technically, she had it all — silky fouettés, punctuated footwork, multiple pirouettes, and a fluid undulation of the body. But what made her special was that, in her case, the emotion led. The steps felt like extensions of what she was feeling, rather than the other way around.<div><img src="https://od2-image-api.abs-cbn.com/prod/editorImage/1777013087111Kiera Sun in La Bayadere.png" style="width:960px" class="fr-fic fr-dib" width="960" alt="Kiera Sun in &#x27;La Bayadere.&#x27; Handout"/>Kiera Sun in &#x27;La Bayadere.&#x27;  Jyllan Bitalac</div>Kiera Sun, who performed Gamzatti in &quot;La Bayadère&quot; and the lead in &quot;Cerulean Skies,&quot; was a picture of quiet elegance. In &quot;La Bayadère,&quot; her feet seemed to melt through each transition, her balances were sustained with ease, and her extensions were beautifully placed. She was clearly an adagio dancer, but her refinement carried through even in more demanding steps. In her closing turns, she completed eight double fouettés, followed by a series of singles into a clean finish. In &quot;Cerulean Skies,&quot; she continued to hold the eye — never forcing attention, yet never losing it.Geonhee Park took the stage in &quot;Grand Pas Classique&quot; and later in Tyler Peck’s work, immediately drawing audible reactions from the audience. His opening grand jeté — simple in structure — was met with a unified gasp, and from that moment on, every jump, big or small, elicited a response. He proved that an artist did not need tricks to be remembered, though he certainly had them — clean multiple turns, strong elevation, and beautiful ballon.<div><img src="https://od2-image-api.abs-cbn.com/prod/editorImage/1777013195610Geonhee Park in Grand Pas Classique.png" style="width:960px" class="fr-fic fr-dib" width="960" alt="Geonhee Park in &#x27;Grand Pas Classique.&#x27; Handout"/>Geonhee Park in &#x27;Grand Pas Classique.&#x27;  Jyllan Bitalac</div>Younjae Park, the grand prize winner of the 2025 Prix de Lausanne, made it clear why he earned that distinction. He  had the capacity to move the audience with a confident and assured presence. Performing as Solor in &quot;La Bayadere,&quot; every step was performed with ease — clean tours, multiple turns, and strong partnering skills. One could not forget his razor-sharp cabrioles cutting through the air. He showed the same consistency in the other pieces. He is a complete package: the look of a K-pop idol, the strength of a gymnast, and the charm of a true dancer. His effortless delivery made it clear that his rise will be swift.<div><img src="https://od2-image-api.abs-cbn.com/prod/editorImage/1777013248369LabayadereKiera Sun (Gamzatti), Younjae Park (Solor) .png" style="width:960px" class="fr-fic fr-dib" width="960" alt="&#x27;La Bayadere&#x27; with Kiera Sun (Gamzatti) and Younjae Park (Solor). Handout"/>&#x27;La Bayadere&#x27; with Kiera Sun (Gamzatti) and Younjae Park (Solor).  Jyllan Bitalac</div>Each of the 13 dancers left a mark, memorable for one reason or another. But these young artists stood out in a way that felt familiar — like watching the early moments of dancers we have seen rise before. I was reminded of Takumi Miyake, whom we saw in a previous ABT Studio Company performance in Manila and who is now an ABT soloist, and Catherine Hurlin, who performed here as a young company member and is now a principal. My gut tells me it is only a matter of time before we see the same trajectory here. With about 85% of ABT’s main company coming from the Studio Company, the path is clear — and for some of them, it already feels fast-tracked.Moving into the repertoire, the classical numbers were polished, clearly reflecting artistic director Sascha Radetsky’s attention to detail. &quot;Cornbread&quot; by Twyla Tharp was easily one of my favorites — a playful pas de deux infused with folk and country influences. It surprised with its musicality, its pacing, and its unexpected lifts. It was charming.From there, &quot;Cerulean Skies&quot; by Brady Farrar brought a different texture. Farrar’s movement had a sophisticated palette yet felt light, almost like dancing on clouds. There were striking moments — a dancer turning on a diagonal while switching arms, another completing rotations while hopping en pointe in arabesque. The partnering played with shifting weight and changing lines, with bodies constantly discovering new shapes.&quot;Human&quot; by Yannick Lebrun took the audience somewhere deeper and more emotional. The dancer seemed to glow in full expression, drawing the audience into a quiet intensity. Then &quot;Variations for Three&quot; by Tyler Peck highlighted the male dancers — not only as individual soloists but also as a connected unit, always aware of one another within the choreography.The evening closed with &quot;Bernstein in a Bubble&quot; by Alexei Ratmansky — an athletic, high-energy display. Not my personal favorite, but it served as a strong ending, reminding the audience just how individually gifted each dancer was.The evening ended with a resounding standing ovation, the audience carrying their cheers all the way into the lobby. If there were ever a measure of success, this was it. A fitting response to a performance driven by passion — shared fully, both onstage and beyond.This author went home fully satisfied, yet still wanting more — grateful to have witnessed such a performance, and elated that Makati remains committed to supporting this project, casting a continuing spotlight on dance. A beautiful beginning, it set a clear and compelling tone for the rest of the festival. As the International Dance Day Festival continues until Sunday, presenting a range of genres, one can only hope that this same standard of excellence — and more importantly, this same depth of passion — continues to resonate in every performance, on and off the stage.Get your tickets via TicketWorld <a href="https://bit.ly/IDDF2026tickets">here</a>.

The International Dance Day Festival opens in Makati with a dynamic gala led by American Ballet Theatre (ABT) Studio Company, showcasing a diverse repertoire and a new generation of standout dancers that set a high bar for the rest of the celebration.

The International Dance Day Festival opens in Makati with a dynamic gala led by American Ballet Theatre (ABT) Studio Company, showcasing a diverse repertoire and a new generation of standout dancers that set a high bar for the rest of the celebration.

International Dance Day Fest opens with standout ABT performance

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International Dance Day Fest opens with standout ABT performance

ABS-CBN Lifestyle,

Erica Marquez-Jacinto

Published April 24, 2026 04:09 PM PHT

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Updated April 24, 2026 04:23 PM PHT

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International Dance Day Festival

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American Ballet Theater

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