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 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.
To be a Filipino dancer on the world stage is more than a profession, it’s a purpose. And for me, being part of Ballet Philippines and representing the country at the Osaka Expo 2025, performing at the Philippine Pavilion, was a surreal, life-changing experience that deepened both my artistic journey and personal growth.
Through this article, Carl Lacaba tells his story of pride, culture, and artistry as he represented the Philippines at the Osaka Expo 2025.
Carl Lacaba | Photo by Ballet Philippines
From the moment I received word that I would be part of the delegation to Osaka, excitement and nervous anticipation filled my heart. I knew this was not just any performance, it was a moment of national pride, a celebration of cultural identity, and an opportunity to share the Philippines with the world. Looking back, those 38 days in Japan became some of the most meaningful days of my life.
Being chosen to dance for the Philippine Pavilion was an honor that I still find hard to put into words. Outside of the stage, I embraced the opportunity to experience Japan’s rich and layered culture. Though my stay was brief, only 38 days, it left a lasting impression on me.
From the moment I arrived, I was struck by the hospitality and discipline of the Japanese people. Their deep respect for tradition, attention to detail, and pursuit of excellence resonated with me both as an artist and as an individual. Whether it was visiting serene temples, strolling through bustling Osaka markets, or simply riding the efficient and clean trains, every interaction offered something to learn and appreciate.
Clarise Miranda and Carl Lacaba | Photographed by Olivia Bugayong
Japanese cuisine, for instance, was a revelation. I indulged in sushi prepared with meticulous care, warming bowls of ramen that nourished both body and soul, and humble convenience store snacks that somehow felt gourmet. Each meal was a lesson in balance, respect for ingredients, and cultural expression.
I also had the chance to witness other national pavilions at the expo—each offering glimpses into different corners of the world. But Japan’s own contributions stood out to me. Their seamless blend of tradition and technology, their artistic sensibilities, and their hospitality created an experience that felt both intimate and grand.
Representing my country through the art of dance has always been a dream, one that came true when I became part of Ballet Philippines and was given the honor of performing at the Philippine Pavilion during the Osaka Expo 2025.
This story is written by Ballet Philippines dancer Clarise Miranda, sharing her journey and reflections from performing at the Osaka Expo 2025.
Clarise Miranda | Photo by Ballet Philippines
What began as a professional assignment evolved into one of the most enriching experiences of my life, not only as an artist but as a Filipino who had the chance to carry our heritage internationally.
The moment I stepped into the grand expanse of Expo 2025 in Osaka, I was filled with awe. I knew I was entering a space where nations from all over the world gathered not only to showcase innovation but also to celebrate cultural identity. And for 38 unforgettable days, I was part of that global conversation, through movement, and music.
To dance in front of both Filipino expatriates and foreign visitors was deeply fulfilling. Others, unfamiliar with our culture, were captivated by the strength and grace woven into every step and gesture.
Clarise Miranda | Photographed by Olivia Bugayong
The Osaka Expo 2025 was a celebration of what the world can be when cultures meet, when stories are shared, and when art becomes a bridge across differences. I return not only as a better dancer, but as a more grounded human being.
For 38 days, I danced for my country. I lived a different life. I met the world. And I will carry the rhythm of Osaka in my heart forever.
Dancing has always taken me places — both emotionally and physically — but nothing compares to the experience I had performing at the Japan Expo as part of Ballet Philippines.
This reflection was written by Ballet Philippines dancer Ian Ocampo, sharing his journey and experiences performing at the Japan Expo 2025.
Ian Ocampo | Photo by Ballet Philippines
This trip was more than just a performance opportunity; it was a fusion of cultures, a test of adaptability, and ultimately, a celebration of art in one of the world’s most respectful and refined cultures. Although it was my fourth time in Japan, the thrill of returning with Ballet Philippines made it feel like the first.
Our performances were held in the Philippine Pavilion designed by renowned architect Carlo Calma. The space was unlike anything I had performed in before — visually stunning, creatively ambitious, and, admittedly, a dancer’s challenge. At first glance, we thought we wouldn’t even fit. The structure was intricate, layered, and deeply conceptual. We weren’t sure how movement would work within such a limited and uniquely shaped space. But dance has always taught me the value of flexibility — not just in body, but in spirit. Eventually, we made it work. In fact, what initially seemed like a limitation became a source of inspiration. Dancing within Calma’s architectural vision pushed us to reimagine the use of space, and in doing so, we brought life to every corner of the pavilion.
Every day, we had two performances — one at 5:30 PM and another at 7:00 PM. Though both were scheduled, they were anything but routine. Each performance felt distinct — shaped by the energy of the audience, the mood of the day, and our own personal evolution as performers. The earlier show carried the warmth of sunset, while the latter glowed with a more introspective energy. It was incredible to see how audiences responded. At first, it was just a few passersby who stopped out of curiosity. But as the days went on, our performances became something people looked forward to. Locals, fellow Expo participants, and tourists would gather around, making it one of the most awaited daily performances at the pavilion. There was an unspoken connection formed between us and the people who came — proof that dance, even in unfamiliar territory, speaks clearly to the soul.
Outside of performing, I cherished every bit of Japan’s culture. The food, of course, was a highlight. Whether it was ramen after rehearsals, onigiri between shows, or matcha ice cream to reward ourselves, everything tasted like care and tradition. But beyond the cuisine, what struck me most was the kindness and discipline of the Japanese people. From the organizers and pavilion staff to strangers who offered help without hesitation, everyone we encountered embodied quiet generosity and deep respect. It made the entire experience not just smooth, but genuinely heartwarming.
What made it even more special was the sense of community we formed — both within our own group and with people we met along the way. We made friends, exchanged stories, and discovered shared passions. Despite language barriers, we found ways to connect — through bows, smiles, and the universal language of appreciation for art. It’s moments like these that remind me why I love dance — not just for what it allows me to express, but for the doors it opens to understanding others.
Being in Japan as a dancer with Ballet Philippines filled me with pride. We weren’t just representing a company; we were carrying with us the rich tapestry of Filipino culture, talent, and resilience. Every time we performed, I felt a sense of honor — knowing that we were bringing a piece of home to an international stage. The reactions we received, from claps to heartfelt conversations after the show, affirmed that we were seen, heard, and appreciated.
Despite having been to Japan before, this visit felt different. It wasn’t just a trip; it was a chapter in my journey as an artist. It deepened my appreciation for cultural exchange and reaffirmed my commitment to the discipline and beauty of ballet. I’ve always admired Japan — its balance of tradition and innovation, its order, its gentleness. And now, having experienced it again through the lens of a performer, I’ve grown to love it even more.
Ian Ocampo and Jemima Reyes-Ocampo | Photographed by Olivia Bugayong
As I look back on the experience, I carry with me more than just memories of dance. I carry the feeling of performing in a space that once seemed impossible, the warmth of strangers who became friends, and the joy of doing what I love in a country I deeply respect. We’re proud of what we shared at the Expo, and even more excited for what’s to come. I can’t wait to return to Japan — not just as a tourist, but as an artist eager to learn, give, and grow.
Because no matter how many times I visit, Japan continues to feel like a beautiful new beginning.
In collaboration with The Rogue Ballerina™ Georgina Pazcoguin, Ballet Philippines continues its pursuit of excellence and artistic growth. This global exchange strengthens BP’s commitment to innovation, discipline, and the advancement of Philippine dance.
As part of its commitment to continuous growth, Ballet Philippines welcomed acclaimed artist, choreographer, and quondam soloist of New York City Ballet, Georgina Pazcoguin—The Rogue Ballerina™—for a special masterclass with its dancers. The session, held at the Ballet Philippines studios, marked a unique opportunity for the company to learn from one of today’s most dynamic and versatile performers. ✨
Pazcoguin’s celebrated career spans both the ballet and Broadway stages, with standout performances in productions such as Cats, On The Town, and West Side Story. She also made history as the first Asian American Pacific Islander woman promoted to soloist at New York City Ballet, a milestone that has cemented her reputation as both a trailblazer and advocate for diversity and representation in the arts. Beyond the stage, she is the author of Swan Dive: The Making of a Rogue Ballerina, a memoir that offers candid insight into her journey as an artist navigating tradition and reinvention.
“This masterclass is more than just a learning session—it is an exchange of artistry that strengthens our mission to nurture excellence and broaden the horizons of Philippine dance,” said Ballet Philippines. “Having Georgina Pazcoguin with us is a reminder that ballet is a living, evolving art form that connects cultures and inspires audiences worldwide.”
Ballet Philippines remains dedicated to creating transformative experiences for its dancers and audiences alike, continually opening its doors to collaborations with globally respected artists.
Georgina Pazcoguin with BP’s Artistic Director, Mikhail “Misha” Martynyuk
Encounters such as this masterclass affirm the company’s role as the country’s premier ballet institution, committed to elevating Filipino artistry on the world stage.
A rare collaboration between Ballet Philippines, the Manila Symphony Orchestra, and Repertory Philippines opens BP’s 56th season with a magical double bill and a meaningful outreach initiative.
BP President Maymay Liechtenstein.
A rare collaboration between Ballet Philippines, the Manila Symphony Orchestra, and Repertory Philippines opens BP’s 56th season with a magical double bill and a meaningful outreach initiative.
At a recent media gathering held at the Oasis in Solaire Resort and Casino, the spotlight was on three major institutions in the Philippine performing arts: BP, MSO, and REP. BP stands for Ballet Philippines, now entering its 56th season. MSO refers to the nearly century-old Manila Symphony Orchestra, celebrating its 99th year. And REP is short for Repertory Philippines, which has been staging world-class theater for 58 years.
As observed by Manila Bulletin’s Philip Cu Unjieng, this historic collaboration represents a combined legacy of 213 years in the arts—an extraordinary milestone. BP President Maymay Liechtenstein expressed that this union of institutions reflects decades of brand-building and dedication to Philippine culture.
From August 1 to 3 at The Theatre at Solaire, Ballet Philippines, the Manila Symphony Orchestra, and Repertory Philippines will present a rare and magical double bill: Peter and the Wolf and Little Red Riding Hood.
The event is not only a showcase of artistic excellence, but also a powerful act of community outreach. A number of seats will be made available free of charge to families from selected barangays, extending access to the performing arts to underserved communities.
Peter and the Wolf, set to Sergei Prokofiev’s iconic score, introduces children to classical music through storytelling—each character is represented by a specific instrument. Ballet Philippines dancers will perform alongside live music by the MSO, with Repertory Philippines lending theatrical elements to the staging.
Paired with this is Little Red Riding Hood, set to the music of Camille Saint-Saëns and Edvard Grieg. The BP-MSO collaboration continues here, promising a visually rich and sonically enchanting performance for audiences of all ages.
It’s a family-friendly theatrical treat that blends movement, music, and drama—all under one roof.
Don’t miss Peter and the Wolf and Little Red Riding Hood, from August 1 to 3 at The Theatre at Solaire. And yes, it’s the Wolf pulling double duty!
