Dance review: K-Ballet Tokyo brings fiery virtuosity to ‘The Flames of Paris’

ARTober is on its tail end, with just one final production remaining this weekend — Porvenir’s “El Fuego del Alma,” a Filipino adaptation of Tennessee Williams’ “Summer and Smoke.” The month-long multidisciplinary arts celebration, organized by Circuit Makati and Ayala Land through the Make It Makati initiative, has proven to be quite the conversation piece among artists, not only because of the potency of the works presented but also because of its interesting curation.

It began with Shakespeare in the Park, directed by Nelsito Gomez, provoking conversations about making high art accessible to the public. Interactive programs, including art crawls and art markets, continued to draw new audiences into Makati’s creative spaces.

Then, almost out of nowhere, came a surprise addition that sent a jolt of excitement through the ballet community: K-Ballet Tokyo’s “The Flames of Paris.”

It was presented last October 24 at the Samsung Performing Arts Theater, in partnership with Tokyo Broadcasting System Television (TBS Japan) and supported by the Japan Foundation and the Embassy of Japan, to celebrate 70 years of diplomatic friendship between Japan and the Philippines.

The inclusion of an international ballet company was exciting enough. But it also offered the chance to see one of Japan’s most prominent private ballet companies make its Southeast Asian debut of their excerpts from “Flames.”

To give context, K-Ballet was founded by Japanese superstar Tetsuya Kumakawa, one of Japan’s most lauded dancers. Trained at the Royal Ballet School, he became the first Asian dancer to join the Royal Ballet, its youngest soloist at the time, and eventually principal dancer at 23. His accolades include gold medals at the Prix de Lausanne and the European Young Dancer of the Year competition in Paris.
Photo by Yoshitomo Okuda But beyond his impressive credentials, Kumakawa was known for the sheer excitement he brought to the stage. Often compared to Mikhail Baryshnikov for his bold approach to performance, his charismatic pull seemed undeniable. A risk-taker, fearless in stepping out of his comfort zone, he delivered jaw-dropping technical performances matched by just as compelling artistry.

His name was big enough to establish and sustain a private ballet company. Founded in 1999, K-Ballet grew under his artistic leadership,  promising to carry the same boldness, precise attention to detail.

So naturally, the buzz was not only about watching his company perform but also the tempting possibility of seeing Tetsuya Kumakawa in the flesh. And as expected, the who’s who of the Philippine dance community turned up for gala night, including National Artists for Dance Alice Reyes and Nonoy Froilan.

Sadly, the superstar himself was absent. After assuming the role of general director in September 2025, Kumakawa passed the artistic reins to Shuntaro Miyao. Kumakawa may have been absent in person, but his fingerprints were all over the performance.

Incidentally, this was Miyao’s first major project as artistic director, restaging Vasily Vainonen’s version of “The Flames of Paris” with additional choreography of his own. His choreography seemed to carry Kumakawa’s DNA, as he spared no opportunity to elicit excitement.

His ensemble delivered one breathtaking feat after another, from open split jumps to high-octane, successive tours. And of course, the principals took the virtuosity even further, performing con gusto. The le bravura dancing captured the revolutionary spirit remarkably well. The choreography was pristine yet excitingly fearless.

It was Hirotaka Yamada’s second visit to the Philippines performing the same piece, and yet I wanted to see more and more of his dancing. As Philippe, the young revolutionary, he evokes the alpha male who could win any revolution. His multiple pirouettes were astounding, and when he jumped, he sprang astonishingly high. His cabrioles were like razor-sharp scissors slicing through the air.

He ended his variation with some difficulty, but having already served a buffet of tricks paired with a commanding stage presence, the audience rewarded him with generous applause, peppered with bravos and approving whistles.

Hirotaka Yamada and Yuka Iwai. Handout  

And then there was Yuka Iwai, who played Jeane opposite Yamada as his love interest. She had fire in her eyes and exquisite technique. From her character dancing to her grand pas de deux on pointe, she was musical and wonderfully articulate in her execution. She looked so young, but in the face of revolution, her passion was unmistakable, particularly through those glaring eyes. It’s always nice when dancers in pairs show equally matched technique and passion. Together they rallied for a revolution

Two other dancers provided a beautiful contrast and caught my attention.

Noi Kinoshita, who played Marie Antoinette, displayed grade-A competence, from her footwork and turnout to her extensions. Her choreography was particularly challenging, including Italian fouettés and complex turns transitioning from lame duck turns to releve attitude. Yet her face remained totally unbothered, her hands comfortably maneuvering her fan as though none of it required any effort. She was clearly a polished aristocrat and dancer on that stage. 

Noi Kinoshita as Marie Antoinette. Yoshitomo Okuda

The young Napoleon Bonaparte, played by Shu Kurihara, was another standout. Even with his rather limited appearances in this excerpted version, he made his presence felt through effortless à la seconde turns and buoyant jumps. He embodied the youthful energy and conviction of someone eager to join a revolution.

And perhaps that was the only disappointment of the evening. As this was a gala featuring excerpts rather than the full-length ballet, the night ended with the audience wanting — and waiting — for more. Nobody seemed willing to leave, as though everyone hoped for a second act.

Shu Kurihara as Napoleon. Hidemi Seto 

This memorable evening takes ARTober to another level. Not only did it succeed in making an international ballet company accessible, but it gave Philippine audiences a glimpse of extraordinary talent. It did a little more than that. It reminded us that cultural collaboration can do more than entertain.

It showed how the greatness of one can become the greatness of many. One person’s exemplary work and work ethic can transcend generations, reach new audiences, and continue to leave the same satisfying effect.

And perhaps that is the greater lesson of the evening. Art, when protected and nurtured, can flourish long after its creator has left the stage. In K-Ballet’s case, it is not simply about protecting a legacy, but keeping the fire alive. It seems Ayala Land Inc. and  Samsung Center of Performing Arts also believe in this as they continue to carve out projects that create positive ripple effects in the community.  

Director of Culture and the Arts Christopher Mohnani said it best: “This is a milestone event.”

Indeed it was another event that celebrates talent, diplomatic friendship, collaboration and cultural legacies. Hopefully Artober will like their other projects continue to grow into the future.