In a recent A Beautiful Day Hangout interview on the Bilyonaryo News Channel, Ballet Philippines President Kathleen Lior-Liechtenstein, together with dancers Regina Magbitang and Carlo Padoga, offered an exciting glimpse into the company’s newest full-length holiday production, Alice in Wonderland.
The conversation shed light on Artistic Director Mikhail “Misha” Martynyuk’s innovative approach, revealing how his choreography combines whimsy, technical precision, and a renewed emotional core while honoring Lewis Carroll’s beloved classic. During the feature, Liechtenstein highlighted Ballet Philippines’ ongoing mission to push artistic boundaries while making ballet accessible to a wider audience.
Dancers Regina Magbitang and Carlo Padoga also made a special appearance, sharing insights into their roles as the Red Queen and the Mad Rabbit—two of Wonderland’s most iconic characters. Their behind-the-scenes stories added depth to the interview, giving viewers a closer look at the creative process and the unique personalities they bring to the stage.
Described as a holiday escape crafted with heart, humor, and pure imagination, Alice in Wonderland promises a visually rich experience filled with bold storytelling and unforgettable characters. With its fusion of classical technique, expressive mime, and theatrical flair, the production aims to enchant audiences of all ages.
Ballet Philippines’ Alice in Wonderland will be performed live at The Theatre at Solaire on December 5, 6, and 7, 2025.
Save your seats in Wonderland through Ticketworld.
In a powerful and heartfelt conversation with Pia Arcangel on GMA’s Power Talks, Ballet Philippines President Kathleen Liechtenstein shared a message that resonates far beyond the stage: “Art is not a privilege, it’s for everyone.”
The exclusive interview explored Ballet Philippines’ ongoing mission to make dance and the performing arts accessible to a broader and more diverse audience. For BP President Kathleen Liechtenstein, this mission is crucial. She emphasized that art should not be confined to elite spaces or limited to those with access to cultural institutions. Instead, it should serve as a bridge—connecting communities, inspiring young talent, and offering hope, healing, and expression to people from all walks of life.
Throughout the conversation, Liechtenstein highlighted the company’s efforts such as Share the Magic and Ballet Brigade to expand outreach programs, create inclusive performance opportunities, and strengthen partnerships that bring ballet directly to schools, underserved communities, and emerging Filipino artists.
She also spoke about the evolving role of Ballet Philippines as a cultural institution, one that champions Filipino creativity while honoring classical foundations. Under her leadership, the company continues to push boundaries, innovate, and redefine what it means to offer world-class art to a modern audience.
Pia Arcangel’s interview shed light not just on Ballet Philippines’ artistic vision, but on its deeper commitment to nation-building through culture.
Liechtenstein’s message is clear and compelling: art is a universal right, a shared human experience, and a gift meant to be accessible to all.
Watch the interview with GMA’s Pia Arcangel for Power Talks here.
Manila Bulletin’s Feliciano Rodriguez III showcases Ballet Philippines’ reimagined production of Alice in Wonderland, choreographed by Mikhail Martynyuk.
A recent feature from Manila Bulletin, written by Feliciano Rodriguez III, highlights Ballet Philippines’ holiday production of Alice in Wonderland, a new full-length ballet choreographed by Artistic Director Mikhail Martynyuk. The article notes that the ballet, part of the company’s 56th season, blends classical technique with playful pantomime to offer a fresh take on Lewis Carroll’s iconic tale.
According to the Manila Bulletin piece, Ballet Philippines offered an exclusive first look at the production during a media preview held on November 7 at the Oasis Garden Café in Solaire Resort, Parañaque. During the event, dancers performed costumed excerpts, giving audiences an early glimpse of the imaginative choreography and visual design that will define the show.
The story follows Alice as her curiosity propels her into a dreamlike world where logic dissolves and imagination takes over. The article describes scenes featuring talking flowers, potions that alter Alice’s size, and memorable encounters such as the Mad Hatter’s riddle-filled tea party. It also highlights the chaotic courtroom of the Queen of Hearts, where flamingos and hedgehogs transform into croquet mallets. The ballet ends with Alice’s decisive cry of “Stop!”, breaking the dream and restoring order.
Manila Bulletin reports that Martynyuk aimed to craft a production where movement communicates emotion beyond words, merging classical ballet with “plastic comedy pantomime.” Ballet Philippines President Kathleen Liechtenstein adds that the work embodies the company’s mission to champion imagination, courage, and Filipino artistry.
The production runs from December 5 to 7, 2025, at The Theatre at Solaire, with tickets available through TicketWorld.
Ballet Philippines unwraps the magic of the season with a visually spectacular and emotionally captivating new full-length production that blends technical rigor and comedic pantomime in a reimagined Alice in Wonderland.
Ballet Philippines officially unveiled its highly anticipated holiday production, Alice in Wonderland, during a media launch held on November 7 at the Oasis Garden Café in Solaire Resort Entertainment City. The event was hosted by Rhea Bautista and featured welcome remarks from Ballet Philippines Artistic Director, Mikhail Martynyuk, who shared his vision for bringing Lewis Carroll’s beloved story to life through the language of dance. Guests were treated to a special excerpt performance from Alice in Wonderland, offering an enchanting preview of the whimsy, wonder, and artistry audiences can expect from this year’s Christmas full-length ballet.
Rhea Bautista hosts the media launch of BP’s 56th Season Christmas Full-Length Ballet, Alice In Wonderland
Ballet Philippines now invites audiences to step into a world where imagination knows no limits as it presents a spectacular new production of Alice in Wonderland, part of the company’s acclaimed 56th Season. Choreographed by Artistic Director Mikhail Martynyuk, this completely original adaptation of Lewis Carroll’s beloved story blends breathtaking choreography with playful theatricality, reintroducing a timeless tale through the transformative language of dance.
BP’s Artistic Director Mikhail Martynyuk, welcomes media guests for the press launch of Alice In Wonderland
In Martynyuk’s reimagining of the classic, audiences are swept into a dreamlike realm where logic bends and wonder takes center stage. The story follows Alice, a curious young girl who, upon chasing a mysterious White Rabbit, finds herself tumbling into the whimsical world of Wonderland. As she journeys deeper into this extraordinary place, she passes through magical doors, samples enchanted potions and cakes, and encounters gardens of talking flowers that challenge her wit and resolve.
Each chapter of Alice’s adventure is brought vividly to life through Martynyuk’s inventive choreography and storytelling. A delightfully chaotic tea party hosted by the Mad Hatter, March Hare, and Dormouse is filled with riddles and whimsy, while the enigmatic Caterpillar helps Alice uncover the courage within her. But the stakes rise dramatically in the Queen of Hearts’ unpredictable court, where flamingos and hedgehogs become croquet mallets, tempers flare, and justice is anything but just. Accused alongside the Knave of Hearts, Alice ultimately defies the chaos, boldly crying “Stop!”—an act that breaks the dream’s spell and returns her to reality.
An excerpt from Alice in Wonderland gave guests a delightful preview of Ballet Philippines’ Christmas full-length ballet at Oasis Garden Cafe in Solaire
What distinguishes this Alice in Wonderland is Martynyuk’s artistic vision, which combines technically challenging choreography for the dancers with elements of plastic comedy pantomime to heighten the production’s theatrical energy. This innovative approach creates a ballet that is as visually captivating as it is emotionally engaging—an immersive, family-friendly experience designed to enchant audiences of all ages.
“As we continue to evolve Ballet Philippines’ artistic journey, Alice in Wonderland represents our ongoing mission to celebrate imagination, courage, and the joy of discovery,” shares Kathleen Liechtenstein, President of Ballet Philippines. “It also reflects our deeper purpose—to bring Filipino talent and artistry to the forefront of the global stage, showcasing how collaboration between world-class artists like Mikhail Martynyuk and our homegrown dancers creates a uniquely inspiring expression of creativity and excellence.”
For Mikhail Martynyuk, Alice in Wonderland is more than a reinterpretation of a classic—it is an exploration of the limitless creativity that defines ballet. “In Alice, I wanted to create a world where movement tells the story beyond words,” Martynyuk explains. “Through choreography, mime, and expression, we invite audiences to feel the humor, absurdity, and heart that make Wonderland so unforgettable.”
As the dream fades and Alice awakens beside her sister, she emerges forever changed by the journey—a reminder of the courage found in staying true to oneself and the limitless power of imagination.
Alice in Wonderland is one of the most anticipated productions of Ballet Philippines’ 56th Season, a year-long celebration of creativity, storytelling, and the enduring magic of dance.
Follow the White Rabbit and step into a world where dreams dance, time twists, and imagination knows no bounds.
Alice in Wonderland runs for only five performances from December 5 to 7, 2025 at the Theatre at Solaire:
December 5 (Gala Performance) – 8:00 PM
December 6 – 2:00 PM & 7:00 PM
December 7 – 2:00 PM & 7:00 PM
Seats are limited—secure your tickets now at TicketWorld and be part of this unforgettable holiday journey through Wonderland.
For media inquiries, please contact Rosary Ysmael at 0917 724 1007.
Part 3 of 3 stories written by Irene de Jesus Obligacion for The Manila Times, highlighting the artistry, strength, and inspiring journey of Ballet Philippines’ lead dancer in Alice in Wonderland.
As Ballet Philippines prepares to unveil Alice in Wonderland this December, principal dancer Jemima Reyes steps into the spotlight as Alice — a role that mirrors her own journey of curiosity, courage, and self-discovery. A graduate of the Philippine High School for the Arts and De La Salle–College of Saint Benilde, Jemima’s path from scholar to company apprentice and now principal dancer reflects years of discipline, artistry, and unwavering passion. Her performances in Don Quixote, Romeo and Juliet, Swan Lake, La Sylphide, and Peter Pan have cemented her reputation as one of the company’s most compelling artists.
BP’s principal dancer, Jemima Reyes stars as Alice in Alice In Wonderland
In Alice in Wonderland, Jemima channels both technical excellence and emotional depth, bringing to life a character who embodies wonder, growth, and resilience. She sees each performance as a continuation of her artistic evolution — an opportunity to merge skill with sincerity and connect authentically with audiences. Beyond the stage, Jemima embraces new dimensions of her life, balancing her dedication to ballet with the joy of newly married life and dreams of motherhood. Her story is a testament to the modern Filipino artist — strong, graceful, and ever-evolving, finding harmony between art and life.
Audiences can witness Jemima Reyes’ radiant portrayal of Alice in Ballet Philippines’ Alice in Wonderland, running from December 5 to 7 at The Theatre at Solaire. For tickets and more details, visitballet.ph.
Read the full story by Irene de Jesus Obligacion for The Manila Times.
Part 2 of 3 stories written by Irene de Jesus Obligacion for The Manila Times, exploring the vision, artistry, and imagination behind Ballet Philippines’ upcoming production of Alice in Wonderland.
For Ballet Philippines’ Alice in Wonderland, Artistic Director Mikhail “Misha” Martynyuk brings to life a deeply personal and imaginative interpretation of Lewis Carroll’s timeless tale. Guided by the music of Claude Debussy, Martynyuk transforms sound into motion, allowing the score’s mystery and poetry to shape both rhythm and movement. Each scene unfolds as its own miniature story, reflecting the individuality and inner worlds of its characters. Rather than simply retelling a familiar fantasy, Martynyuk’s choreography turns Alice in Wonderland into a living conversation between music, movement, and imagination.
BP’s Artistic Director Mikhail “Misha” Martynyuk
As both choreographer and stage designer, Martynyuk redefines Wonderland as more than a physical place—it becomes a symbolic space within Alice’s mind, filled with thoughts, memories, and dreams. Through carefully conceived staging and atmosphere, the ballet explores the transition from innocence to self-awareness, where every whimsical encounter reflects Alice’s inner growth. Even the story’s famous transformations are reimagined, with emphasis placed not on literal effects but on emotional and symbolic expression.
At its heart, this production highlights Ballet Philippines’ commitment to creativity and excellence. Martynyuk’s approach combines the technical mastery of the dancers with a profound sense of storytelling, resulting in a performance that is both visually striking and emotionally resonant. Audiences can look forward to an original and thought-provoking experience that blends artistry, symbolism, and heartfelt expression. Alice in Wonderland runs from December 5 to 7 at The Theatre at Solaire. For more details, visitballet.ph.
Read the full story by Irene de Jesus Obligacion for The Manila Times.
A celebration of Ballet Philippines’ 56th season through the enchanting world of Alice in Wonderland—Part 1 of 3 stories written by Irene de Jesus Obligacion for The Manila Times.
As part of Ballet Philippines’ (BP) 56th season this December, the company proudly presents Alice in Wonderland, choreographed by BP Artistic Director Mikhail “Misha” Martynyuk. This latest production is an imaginative adaptation of Lewis Carroll’s beloved story, reinterpreted through the distinct artistry and technical excellence of Ballet Philippines. The ballet promises to capture the whimsy and wonder of Alice’s adventures while reflecting the company’s signature blend of classical precision and contemporary flair.
Ballet Philippines’ President & CEO Kathleen Liechtenstein
In this first installment of a three-part feature on Alice in Wonderland by Irene de Jesus Obligacion for The Manila Times, BP President Kathleen Liechtenstein shares insights on what makes this production truly special. She highlights how choreography, costume, and set design come together to create a fresh and captivating experience. Each new season provides BP dancers with the opportunity to push their boundaries, refine their technique, and display their growth as world-class artists. The production emphasizes both technical mastery and heartfelt performance—qualities that define Ballet Philippines’ enduring excellence.
Beyond its visual splendor, Alice in Wonderland represents BP’s continuing commitment to meaningful artistry. Rather than relying on spectacle alone, the company seeks to create performances that connect deeply with audiences, evoking joy, reflection, and a renewed appreciation for the art of dance. Through this production, Ballet Philippines reaffirms its vision of presenting works that inspire and elevate the spirit while celebrating Filipino talent at its finest.
Catch Ballet Philippines’ Alice in Wonderland at The Theatre at Solaire on December 5 to 7. For tickets, call +63 930 318 5721 or visitballet.ph. Read the full story by Irene de Jesus Obligacion for The Manila Times.
A meaningful exchange with the Indigenous Tagakaolo Tribe in Saranggani and an inspiring performance at Mindanao Art 2025 highlight the company’s commitment to cultural exchange and advocacy.
Ballet Philippines (BP), the country’s leading classical and contemporary dance company, continues its mission of cultural exchange and advocacy through a meaningful encounter with the Tagakaolo Tribe in Saranggani and its participation in MinArt 2025, Mindanao’s premier art and cultural gathering.
As part of its 10th indigenous community visit, BP traveled to Malungon, Saranggani, where the company was warmly welcomed by Datu Reneboy, Chieftain Antonio, and the Tagakaolo elders with a traditional dance.
Through their rich dances and music, the tribe shared their heritage, and in return BP offered the art of ballet through performances and an engaging workshop. It became more than an exchange of performance—a celebration of identity, creativity, and the beauty of two cultures meeting.
“Each visit with our indigenous communities is uniquely meaningful, and our time with the Tagakaolo Tribe is no exception,” said BP President Kathleen Liechtenstein. “These encounters remind us that ballet is not only about performance, but also about connection, learning, and honoring the many stories that shape our shared cultural identity.”
Dancers Regina Magbitang, Eduardson Evangelio, Carlo Padoga, and Peter San Juan echoed the sentiment, sharing how the tribe’s excitement and eagerness to learn—especially among the children—left a lasting impression on them.
At MinArt 2025, which gathered artists, institutions, and cultural movers from over 180 communities, Ballet Philippines presented an excerpt from its original Filipiniana ballet Ang Panaginip.
The company was also recognized as an Outstanding Dance Company for its contributions to Philippine culture.
As the dancers shared, they stand united with the company’s vision for this Ballet Brigade: to bring ballet to every corner of the country while learning from the communities they serve.
The Osaka Expo was a highly anticipated event that the dancers looked forward to this year. Personally, it was my first time coming to Japan, but visiting this country had always been a dream of mine. Having traveled to different countries and cities across Asia, America, the Middle East, and Europe, Japan has always been the one I looked forward to the most.
This is Jemima Reyes-Ocampo’s story of how her first trip to Japan became an extraordinary chapter in her life as an artist at Expo 2025.
Jemima Reyes-Ocampo | Photo by Ballet Philippines
Hearing about Japan from other people, reading books, and watching videos about the culture and places always made me feel excited. People often talk about it as if it’s the best place in the world—or at least their favorite country. My own contribution to that impression is simple: every Japanese person I’ve met has been incredibly kind. Undoubtedly so. All of them. I guess all the stories, media, and personal experiences really do lead to the same conclusion—Japan is an amazing country.
So when I found out we were going to Japan, I got really excited.
Everything was prepared, and off we went! The first few days were a bit confusing, as I don’t usually navigate public transportation in Manila. In Japan, however, people walk everywhere and ride the train to all sorts of places—near and far. While we were initially confused by the train system, we were lucky to get help easily when needed. Big thanks to our phones and mobile internet—it made traveling so much easier and smoother.
We arrived in Japan and spent the first day settling in and resting. We got familiar with our accommodations and headed to a nearby mall to buy cellular data for our phones so we could navigate and stay in touch with our group. The following day, we visited the Expo for the first time. We traveled in the afternoon just to get a glimpse of what the Expo looked like.
We have Architect Carlo Calma to thank for showing us around the pavilion and personally explaining how his work came to life. Before the tour, he even brought us to a delicious Japanese restaurant where we had a great conversation about the work we’d be doing. It was a privilege to share that moment with him before stepping onto the stage.
As we entered the Expo, it finally hit me how massive this event really was. Since this was my first Expo experience, everything felt unfamiliar at first. We were welcomed by massive LED screens at the station, which led to a grand staircase rising toward the entrance. Beyond it lay an expansive open space, where the tallest flags of different countries stood together in a beautiful symbol of unity and solidarity. That was a moment to take in—one of awe and pride.
It gave me a strong sense of honor to be part of something that only happens once every few years. I felt an instant wave of gratitude and lightness in my heart—not only because I was finally in Japan, but because I was here for the Japan Expo. What an experience.
Inside the pavilion, we were greeted by the warm smiles of the staff and the historical tapestry works, which, we were told, were made by various people from all over the Philippines. “Wonderful!” I thought to myself. Soon after, we were led to our respective dressing rooms and had the chance to get familiar with the other performers. We shared our space with the Ramon Obusan Folkloric Group, who performed at the pavilion lobby. It was great to see fellow Filipino artists coming together on an international stage.
Our performance took place within a unique setup—inside the moving tiles surrounding the rattan structures. It’s essentially a walkway where six dancers can comfortably fit. While it wasn’t a traditional stage, the setup was perfect for a site-specific performance. No one would really expect to see people dancing there. The choreography was designed to move with the structure, which made it very engaging. From the audience’s view, they could see multiple layers of tiles, woven designs that moved, and the dancers performing within them. It was fascinating to perform in a spot that most people wouldn’t even consider a stage.
Anyone at the Expo could catch the show, held daily at 5:30 PM and 7:00 PM. There was no need to line up, but it was always full of people stopping to watch, clapping and taking in the experience. Hopefully, they were also discussing how unique and captivating it was.
The afternoon show focused primarily on the tile movement and the choreography. But the evening show brought an extra element of surprise: lights. The lighting was an integral part of the whole performance and created an atmosphere that was truly magical. I like to think the evening performance is the more favored one—it’s just so beautiful to witness under the night sky. The lights highlighted the textures and movements, making everything come alive in a different way.
Dancing in this space felt very different from performing on a stage with spotlights and curtains. It was more intimate, more immersive, and deeply connected to the space we were in. We weren’t just dancing in the space; we were dancing with it. That’s what made the whole performance so meaningful for me.
Jemima Reyes-Ocampo and Ian Ocampo | Photographed by Olivia Bugayong
Beyond the technicalities of performing, being in Japan—especially for the Expo—meant something bigger. It meant being part of a global celebration of culture, innovation, and human connection. It was a chance to share our stories, traditions, and creativity with people from around the world. To be one of the many voices at the Expo was an honor I will never forget.
As I look back on the experience, I carry with me not just memories of a successful performance, but a deeper appreciation for the journey. From the moments of confusion on the trains to the cheers of the crowd as we danced among the tiles, everything felt like a dream unfolding.
I came to Japan with high hopes, and the experience surpassed all of them. It reminded me of why we dance in the first place—to connect, to inspire, and to celebrate the beautiful things that bring us together.
What a journey. What a gift. What an unforgettable first time in Japan.
Expo 2025 was more than just a performance—it was an experience that celebrated the richness of the past, gratitude for the present, and bold visions for the future.
In this piece, Mark Anthony Balucay recounts his experiences as a Ballet Philippines dancer at Expo 2025 in Osaka.
Mark Anthony Balucay | Photo by Ballet Philippines
As a young Filipino dancer, eager to immerse myself in this global event, I was excited to be included in this wonderful experience that only a few could be a part of.
The scale of the event was unlike any other, vibrant tapestries of diverse and unique cultures woven with innovative technology. The Philippine Pavilion was a beacon of national pride. Made by Filipino architect Carlo Calma, the Pavilion is a modern interpretation of the culture of our country that made me feel at home. It exhibits from rich tapestries of our weaving traditions, to the vibrant energy brought by music, dance and art installations. The Pavilion is a reminder of the beauty of our traditions and beliefs; a message that I am very proud to share with visitors from all around the world.
The experience didn’t end in the Pavilion or in the Expo. The in-betweens also made our stay and performance in Japan memorable. We were able to experience living in Japan: from the long but pleasant walks, to commuting and riding the train, from performing twice a day in the Philippine Pavilion to tasting various dishes in Japanese cuisine. Another irreplaceable moment was when we were able to meet and make new friends as we navigated our life in Japan, as well as to showcase our talents and skills to the Philippine Consul and to our President when they visited the Pavilion. These are moments that I never thought I would have, and I am very honored to keep them.
Mark Anthony Balucay | Photographed by Olivia Bugayong
Leaving Expo 2025, I carried with me more than just souvenirs and memories. I returned home with a renewed sense of the world, a deeper understanding of the world’s complexities, and an unwavering belief in the power of collaboration to create a better future. The Expo was not just an event; it was a transforming experience that enriched my life in countless ways. It was a journey of discovery, a celebration of humanity, and a profound reminder of our shared responsibility to build a sustainable and equitable world for generations to come.
