When Hollywood actor Timothée Chalamet recently sparked debate by suggesting that “no one cares” about ballet and opera anymore, one of the Philippines’ most prominent figures in classical dance decided to answer in her own way.

Prima ballerina Lisa Macuja-Elizalde posted a TikTok video thanking the actor, turning the controversy into a moment of reflection for the ballet community.

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

Her message came after comments by actor Timothée Chalamet during a February town hall conversation with Matthew McConaughey. In discussing how audiences support certain forms of entertainment, Timothée said he would not want to work in fields like ballet or opera where people have to campaign to keep them alive, adding that “no one cares about this anymore.” The remark circulated widely online and drew responses from dancers and musicians who defended the continuing relevance of classical performance.

For Lisa, the remark became a reminder of why the art form still matters.

“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.”

Lisa is widely regarded as the Philippines’ first prima ballerina and one of the most influential figures in the country’s dance scene. Born in Manila in 1964, she broke barriers early in her career, becoming the first foreign soloist of the prestigious Kirov Ballet in Russia in 1984, after training at the Vaganova Choreographic Institute in Leningrad.

Over the decades, she has performed internationally while also helping shape the local ballet landscape. In 1995, she founded Ballet Manila, which has since become one of the country’s leading classical ballet companies. The organization has long promoted the idea of “bringing ballet to the people,” staging productions locally while also conducting outreach performances across the Philippines.

Through Ballet Manila and programs such as Project Ballet Futures, Lisa has also worked to train young dancers, including scholars from public schools, expanding access to an art form often seen as exclusive.

In her TikTok message, she also used the moment to invite audiences to the theater.

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

The production is part of Ballet Manila’s current season and marks the return of live orchestral accompaniment, something many dance companies paused during the pandemic.

While the online debate around Timothée’s comments continues, Lisa’s response underscores a different perspective. Rather than dwell on criticism, she framed the moment as motivation.