Mercedes Zobel, Sheree Chua, Kathleen Liechtenstein, Jor-el Espina and Lulette Monbiot

Ballet Philippines’ season finale, “Ang Panaginip,” was more than just a ballet—it was a grand celebration of Filipino heritage, where movement, music, and fashion intertwined seamlessly. As the lights dimmed at The Theatre at Solaire, the audience was treated not only to a spectacular neo-classical ballet but also to a breathtaking display of Filipiniana elegance, both on and off the stage.

Sheree Chua, Anna Sobrepeña, Mercedes Zobel, Lulette Monbiot, Kathleen Liechtenstein and Bernadette Aboitiz

An Evening Of Filipiniana Elegance

From the moment guests arrived, it was clear that “Ang Panaginip” was no ordinary performance. The Board of Trustees of Ballet Philippines, along with distinguished guests and patrons, came dressed in exquisite Filipiniana ensembles, mirroring the breathtaking costumes that would soon grace the stage. 

Sheree Chua and Tiffany Chua Copok

The theater lobby transformed into a showcase of Philippine fashion, with intricately embroidered ternos, barongs woven from piña fabric, and modern interpretations of traditional attire setting the tone for an evening steeped in culture and artistry.

Lulette Monbiot and Mercedes Zobel

As the 1,740-seat theater filled, the anticipation was palpable. Ballet Philippines President Kathleen Liechtenstein welcomed the audience, sharing the vision behind “Ang Panaginip.”

 “Tonight, we celebrate the Filipina—one who dares to dream without limits, boldly defies expectations, and rewrites her own happy endings,” she declared. “Through a new original Filipiniana ballet, ‘Ang Panaginip’ pays tribute to our heritage, with stunning costumes by Jor-el Espina, music by Glenn Aquias, a libretto by Mawi de Ocampo, and choreography by our Artistic Director, Misha Martynyuk.”

Mercedes Zobel and Stanley Ng

The Magic of Jor-el Espina’s Designs

At the heart of the production was Espina’s masterful costume design. A celebrated advocate of indigenous textiles, Espina brought his passion for Philippine craft to life by creating ensembles that represented the diverse regions of the country. His designs blended traditional weaves with modern silhouettes, resulting in a visual feast of rich textures, bold hues, and exquisite detailing.

Lauren Liechtenstein, Kathleen Liechtenstein, Jor-el Espina and Bernadette Aboitiz

Espina sourced fabrics from his personal 20-year collection, integrating intricate beadwork, handwoven fabrics, and classic Filipiniana elements. Each princess’s costume reflected the region she symbolized, reinforcing the ballet’s tribute to the country’s rich cultural tapestry. As the dancers twirled and leaped across the stage, their costumes flowed like moving art, adding depth and vibrancy to every scene.

Anna Sobrepeña, Atty. Lorna Kapunan, and Jo Ann Bitagcol | Vicky Santos, Bernadette Aboitiz and Lauren Liechtenstein

An Enchanting Fusion of Tradition and Innovation

“Ang Panaginip” was more than just a nostalgic nod to Filipino culture—it was a fresh and modern interpretation of heritage through dance. The production moved beyond conventional folk influences, incorporating neo-classical ballet, dance pantomime, and contemporary movement. Artistic Director Martynyuk shared, “As part of our 55th Season themed Relevé, which signifies rising to new heights, this production embodies both ascent and transformation.”

Mikhail Martynyuk and Elya Martynyuk

He revealed that the set design was inspired by Philippine landscapes, including the breathtaking Seven Falls in Lake Sebu. This fusion of natural beauty and artistic imagination transported the audience into a dreamlike world, where storytelling and movement became one.

Philip Monbiot and Lulette Monbiot

A Triumph of Filipino Artistry

As the final notes of the original score played and the dancers took their bows, the audience erupted into applause. More than just a performance, “Ang Panaginip” was an immersive experience—one that highlighted Filipino talent, creativity, and cultural pride.

Maribel Calma and Carlo Calma

With Ballet Philippines’ Board of Trustees and guests fully embracing the theme through their own stunning Filipiniana attire, the evening was a true testament to the power of art in uniting tradition with contemporary expression. In celebrating the beauty of Philippine fashion, dance, and storytelling, “Ang Panaginip” proved that dreams—like heritage—are meant to be lived and shared.

Ballet Philippines’ 55th season came to a breathtaking close with “Ang Panaginip,” an original full-length Filipiniana ballet that redefined the traditional fairytale. For Carby Rose Basina of GMA News Online, “the show fuses cultural heritage with the power of self-discovery, presenting a story that speaks to the modern Filipina and her limitless potential.”

A Story of Self-Discovery and Freedom

At the heart of “Ang Panaginip” is the story of 18 princesses, each symbolizing a region in the Philippines. Unlike typical fairy tales where princesses await rescue, these young women take control of their own destinies. Through a mysterious portal, they escape the confines of royal life and enter an enchanted world where they can finally pursue their true aspirations—whether as a violinist, ballet teacher, doctor, or astrologer. This powerful reimagining resonated deeply, serving as a tribute to Filipinas who challenge societal norms and carve their own paths.

Breaking Away from Traditional Narratives

Ballet Philippines President Kathleen Liechtenstein shared with GMA News Online that “Ang Panaginip” was deliberately crafted to break away from conventional narratives. “We aimed to present a not-so-conventional fairytale—this Filipina princess does not need a Prince Charming to save her—showcasing the reasons to celebrate the multi-hyphenate modern Filipina,” she explained. This vision was seamlessly woven into the ballet, from its storyline to its intricate costumes that represented the country’s diverse cultural heritage.

As the production took shape, the creative team envisioned each princess as an embodiment of the Philippines’ 18 regions. More than just characters, they became symbols of every Filipina who refuses to be confined by tradition and instead embraces her individuality. Their journey reflected the universal struggle of women striving for self-discovery while honoring their roots. “Despite their differences, they have a common dream—to live beyond the confines of their palace walls and pursue their goals while remaining authentic to themselves,” Liechtenstein emphasized.

Fashion as a Storytelling Tool

One of the most striking elements of “Ang Panaginip” was its use of fashion as a storytelling tool. Renowned designer Jor-el Espina, known for his advocacy of indigenous textiles, collaborated closely with Ballet Philippines to create costumes that were both elegant and deeply rooted in Filipino culture. He sourced fabrics from his personal 20-year-old collection, incorporating intricate beadwork and regional patterns. The result was a stunning visual display that complemented the dancers’ movements, reinforcing the ballet’s message of cultural pride and individuality.

“Through Jor-el’s enduring love for Filipino design and BP’s Artistic Director Mikhail Martynyuk’s neo-classical choreography, it was a perfect collaboration with Ballet Philippines,” Liechtenstein noted.

A Celebration of Identity and Dreams

Basina writes, “More than a ballet, ‘Ang Panaginip’ is an invitation for audiences, especially those from the provinces, to see themselves in the characters and embrace the rich cultural tapestry of the Philippines.”

The production not only showcased the artistry of Filipino dance but also sent a powerful message about self-empowerment and the richness of Philippine heritage. It reminded viewers that the Filipino identity is woven together by personal dreams and collective aspirations.As the final act unfolded and the dancers took their bows, Ang Panaginip left an undeniable impact. The performance was a testament to the evolving narrative of the Filipina—one of strength, ambition, and boundless potential. Through this ballet, Ballet Philippines not only honored tradition but also redefined what it means to dream. Read Carby Rose Basina’s full story of “Ang Panaginip” in GMA News Online.

For Anna Isabel C. Sobrepeña, Ballet Philippines’ “Ang Panaginip” was more than just a performance—it was a mesmerizing fusion of movement, music, and cultural artistry. As she witnessed the company’s 55th season finale unfold, she was struck by the seamless interplay of dance and design, set against a backdrop of Philippine heritage.

The evening began with a vibrant cocktail reception at The Theatre at Solaire, where guests arrived in elegant, modern interpretations of the national dress. The anticipation was palpable, and the theater itself became a stage for celebrating Filipino artistry even before the curtain rose. Once inside, Sobrepeña was transported into a dreamlike world where choreography and costume combined to tell a uniquely Filipino story.

Homage to traditional craftsmanship

A highlight of the production was the collaboration between Ballet Philippines and designer Jor-el Espina, whose costumes masterfully incorporated indigenous weaves collected over his two-decade career. Sobrepeña appreciated how Espina’s designs not only complemented the dancers’ movements but also paid homage to traditional craftsmanship. The vibrant colors and intricate patterns of his creations swirled gracefully in the pas de deux and grand adagio, reinforcing the ballet’s visual storytelling. Espina himself remarked on the synergy between ballet and fashion, emphasizing that both disciplines share an emphasis on lines, movement, and silhouette—an observation that resonated deeply with the evening’s performance.

Artistic Director Mikhail Martynyuk’s vision was another element that captivated Sobrepeña. She noted his reference to relevé, a movement in which dancers rise to their toes—a fitting metaphor for Ballet Philippines’ evolution and innovation. For Martynyuk, “Ang Panaginip” was more than just another production; it was a challenge for the dancers to push their limits, mastering intricate rhythms and demanding technical precision. Sobrepeña recognized this commitment to excellence in the way each movement was executed with both strength and grace.

An evocative orchestral score

The inspiration for the ballet, as relayed by Ballet Philippines President Kathleen Liechtenstein, stemmed from an illustrated comic book that she shared with Martynyuk during a family vacation. His immediate enthusiasm led to the rapid development of a storyline and musical mapping, which composer Glenn Aquias then transformed into an evocative orchestral score. Sobrepeña admired the haunting beauty of the music, infused with the sounds of Filipino instruments, which added layers of depth and emotion to the performance.

Celebrating Filipino culture and identity

The ballet’s set design drew from the natural beauty of the Philippines, particularly the Seven Falls in Lake Sebu. Martynyuk’s vision of blending the real and the fantastical transported audiences into a world where dreams and reality intertwined. Sobrepeña found herself fully immersed in the narrative, following the journey of 18 princesses—each representing a Philippine region—who longed for freedom beyond the constraints of their palace. Their struggles and triumphs reflected broader themes of self-discovery and empowerment, making the ballet’s message deeply resonant.As the final note lingered in the air and the dancers took their bows, the spontaneous applause reaffirmed the performance’s impact. For Sobrepeña, “Ang Panaginip” was not only a technical and artistic triumph but also a powerful celebration of Filipino culture and identity—one that left a lasting impression on all who witnessed its magic. Read Anna Isabel C. Sobrepeña’s full story in Inquirer Lifestyle.

“Ang Panaginip”—a story that highlights the power of dreams and the beauty of self-expression.”

In her story for GMA Lifestyle, Hazel Jane Cruz writes:  Ballet Philippines’ “Ang Panaginip” followed the story of 18 Filipina princesses. On Sunday, March 2, Ballet Philippines successfully concluded its 2025 concert “Ang Panaginip.” It ran from February 28 and staged a total of five shows at The Theatre at Solaire. “Ang Panaginip” also marked the end of the 55th season of Ballet Philippines.

The author narrates that ‘“Ang Panaginip” is a full-length Filipiniana ballet directed by Mikhail Martynyuk, with exquisite costumes by renowned Filipiniana designer Jor-el Espina and an evocative score by Glenn Aquias. It followed the lives of 18 princesses who “yearned for freedom beyond their palace walls.’”

In addition, she elaborates, “Aside from giving a platform to the talent of Filipina ballet dancers, ‘Ang Panaginip’ also paid homage to Filipino culture through Jor-El’s designs and Filipinianas that represented 18 regions from the country: Matalino, Sinag, Alon, Ligaya, Dalisay, Mayumi, Oragon, Kugihan, Dilaab, Kahilom, Bagani, Hiyas, Teodora, Sibol Giliw, Tala, Bantay, and Teresita.” She also mentioned that “On the opening night, Ballet Philippines President Kathleen Liechtenstein was present at the event and appeared grateful for the support ‘Ang Panaginip’ has received, who shared, “‘Tonight, I stand in deep gratitude as we end our 55th season. None of these would be possible without you. You, our audience, you, our supporters, fellow dreamers, you fuel our passion, lift our artistry, and help us extend the inspiring power of ballet to communicate far and wide,’ said Kathleen.” Read the full story by Hazel Jane Cruz in GMA Lifestyle.

According to Mega’s Sean Castelo III, “For a designer whose work has long been an ode to Filipino craftsmanship, the opportunity was more than just a milestone, but fate in motion.” In his article, he narrates that “as part of his 20th year in fashion, Espina has taken on a challenge both grand and personal: crafting the costumes for Ballet Philippines’ 55th season-ending production. He further states, according to Espina: “It’s actually a Filipiniana. And, you know, the Filipiniana is very close to my heart. This is one thing that I’m very passionate about.”

The author elaborates, sharing, “Directed by artistic director Mikhail Martynyuk, the ballet takes its pulse from Glenn Aquias’ evocative score and moves to the rhythm of Mawi Fojas de Ocampo’s libretto. Loosely inspired by the Grimm Brothers’ The Dancing Princesses, it follows a band of royal sisters who slip beyond the boundaries of their prescribed lives, escaping into a realm where they can be anyone—perhaps even themselves. But where the original tale had twelve princesses, Ang Panaginip expands the vision, multiplying the sisters to eighteen, each a reflection of the Philippines’ eighteen regions.”

In addition, according to the author, “To create for ballet is to understand movement not just as a function, but as a language. Every pleat, every bead, every thread must not only catch the light but also obey the rhythm of a dancer’s body. Espina, who has been a devoted Ballet Philippines audience member since 2019, approached the task with reverence and instinct.”The article states: “Well, actually, it’s tiring,” he admits with a laugh, “but, you know, it’s tiring when you’re not doing anything. So, I want to do things right away when I think of something.” He had been dreaming of designing for ballet long before this opportunity arrived. “As a designer, gusto mo rin naman nakikita yung damit mo on stage, and when they showed me the piyesa, the libretto, I said, ‘this is something I’m interested in.’ So, I want to do this, and it’s Filipiniana, and it’s very me.” Read Sean Castelo III’s full story in MEGA.

Ballet Philippines’ Ballet Brigade traveled to Zamboanga for a meaningful experience, where they were warmly embraced by the Sama-Bajau community. Guided by BP President Kathleen Liechtenstein, BP Trustee Sheree Chua, and outreach donor Lauren Liechtenstein, the endeavor went beyond a celebration of dance—it was an opportunity to foster cultural exchange, build connections, and give back to a community rich in heritage.

After an adventurous walk across the Sama-Bajau’s taytayan (footbridge), the team spent a day with 50 bright-eyed children, sharing in the joy of movement and exchanging stories. With the support of the Cartwheel Foundation and the Center for Community Extension Services, Ballet Philippines collaborated with the community to explore the beauty of dance, honoring both the art form and the people it wishes to inspire.

Thanks to generous donations from McDonald’s, Kohl Industries, and Rexona, the young dancers enjoyed a warm meal, received hand sanitizers, and were given hygiene products to keep them healthy and safe.

In the afternoon, Ballet Philippines introduced basic movements the Sama-Bajau elders could practice at home for health and fitness. In return, the elders warmly shared their Igal-Igal dance, a tradition often performed at weddings and special gatherings. As they moved with effortless elegance, they invited Ballet Philippines to join in, creating a meaningful exchange of artistry and heritage. It was a beautiful, graceful, and sensuous performance. The program ended on a joyous high note, with everyone dancing to the rhythm of the Sama-Bajau’s music—a true celebration of culture and connection.

As Ballet Philippines wrapped up this chapter of their Ballet Brigade mission, they took with them meaningful memories, leaving a piece of their hearts with the Sama-Bajau children and the community, who reignited their passion and reminded them of their purpose. Dance truly is a universal language that connects us all, and Ballet Philippines is grateful for the opportunity to speak it.