When remarks attributed to Hollywood actor Timothée Chalamet began circulating online suggesting that audiences no longer care about classical performance arts such as ballet and opera, one of the Philippines’ most respected figures in dance chose not to respond with outrage—but with resolve.

Filipino prima ballerina Lisa Macuja-Elizalde addressed the discussion through a video message on social media, turning the moment into a rallying call for the global ballet community.

“I just want to thank you,” she said in the video. “Thank you for renewing the fighting spirit in me and the fighting spirit in all of us ballet dancers.”

Turning controversy into motivation

The online discussion began after Chalamet made remarks during a town hall conversation with Matthew McConaughey, where he reflected on the types of artistic paths he might pursue.

During the exchange, the actor suggested he would not choose to work in art forms that constantly need campaigning to be preserved, adding that “no one cares about this anymore” when referring to ballet and opera.

The statement quickly sparked debate among performers and cultural advocates, many of whom defended the continued relevance of classical art forms.

For Macuja-Elizalde, however, the remarks became a moment of reflection rather than confrontation.

“Ballet Manila has always been dedicated to bringing ballet to the people and more people to the ballet for the last 31 years, and sometimes we take it for granted,” she said. “And it took you just one statement to wake us all up to the fact that what we are doing is very relevant and that we really care.”

A Lifetime Dedicated to Ballet

Macuja-Elizalde is widely regarded as the Philippines’ first prima ballerina and one of the most influential figures in the country’s dance landscape.

Her career began decades ago when she trained at the prestigious Vaganova Choreographic Institute in Leningrad. In 1984, she made history by becoming the first foreign soloist of the renowned Kirov Ballet.

Beyond her international performances, she has devoted much of her life to nurturing ballet culture in the Philippines.

In 1995, she founded Ballet Manila, which has since grown into one of the country’s leading ballet institutions. Through the company, she has championed the mission of bringing ballet closer to communities across the country while expanding opportunities for young dancers.

Programs such as Project Ballet Futures have opened doors for scholars—including students from public schools—to train in classical dance, helping break down barriers that once made ballet seem inaccessible.

Inviting audiences back to the theater

Rather than dwell on the online controversy, Macuja-Elizalde used the moment to encourage audiences to rediscover ballet in its most powerful form: live performance.

“So, if you’re in Manila, catch Ballet Manila in my The Sleeping Beauty on 13, 14, and 15 March here at Aliw Theater,” she said. “And for the first time after the pandemic, the Manila Symphony Orchestra is going to be accompanying us.”

The staging of Sleeping Beauty marks a milestone for the company as it restores live orchestral accompaniment—an experience many dance productions had paused during the pandemic.

Proving ballet is very much alive

For Macuja-Elizalde, the conversation sparked by Chalamet ultimately reinforced the purpose that has guided her decades-long career.

Rather than seeing the remarks as a dismissal of ballet, she framed them as a reminder of why artists must continue sharing their work with audiences.

In her view, the endurance of ballet lies not only in its history but in the passion of those who continue performing, teaching, and believing in the art form.

And if the reaction from dancers and supporters around the world is any indication, the curtain on ballet is far from closing.