A Season of Gratitude for ARDP

 

Alice Reyes Dance Philippines (ARDP) opened its 2025 season with Pagdiriwang (Celebration) in April. On August 1, 2025, they followed this with a pre-opening show at the Rockwell Proscenium Theatre featuring Pasasalamat (Thanksgiving). Reflecting on both shows, I realized that this company has made remarkable strides.

In just three years, ARDP has successfully regained ownership of its previous repertoire from Ballet Philippines by performing these pieces under the new company. It now boasts a diverse collection that includes some of the most significant works in dance history, featuring pieces from renowned choreographers such as National Artist Agnes Locsin, Edna Vida, Denisa Reyes, Gener Caringal and  Bam Damian to name a few. Complementing this treasure trove of classics is a fresh array of new creations from both local and international choreographers. In such a short time, this newcomer in the dance world—led by veterans—now holds a repertoire that represents decades of history. And now, they have opened the doors for creating more new work. Indeed, for ARDP, there is much to celebrate and be thankful for. 

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Filipino Narratives on Stage

Mga Kwento ni Juan Tamad by Sorilla offered a refreshing reimagining of the popular Filipino tale. In an effort to capture the essence of Filipino culture, Sorilla included characters from various folklores such as Gamu-Gamu at Lampara, Pagong at Kuneho, and Buwaya at Paboreal. With original music composed by Toto Sorioso and sets designed by Loy Arcenas, he embraced a theatrical approach that encouraged the dancers to step outside their comfort zones. All the elements of children’s theatre were present: interaction, engaging dialogue, overt characterization, and a heroine.

Ricmar Bayoneta as Juan Tamad 

This full-length production, created specifically for students in Grades 1 to 10, brought colorful and imposing characters to life. Despite being well above that age bracket, I found myself giggling at the wit, occasional sarcasm, and physical comedy. I honestly loved the”mababaw” and delightfully corny moments. The company as a whole was committed to telling the story, and together they animated Sorilla’s world.

Ricmar Bayoneta as Juan Tamad was ultra-confident in his portrayal, never missing a beat and always flashing a charming smile at his Maria Masipag, danced by the blooming talent  Karla Santos. Here, Juan is cast as the ultimate underdog—the laziest lad one could meet—who, upon finding the love of his life, seizes the chance to save her family and recover their missing golden coconut. Alongside Matsing(monkey), played by Dan Dayo, they encounter a variety of animals. John Ababon was hilarious as the slow Pagong, while Monica Gana played the self-absorbed Kuneho. She could have easily been given a phone to complete the image of today’s self-absorbed youth, embodying the influencer and the mean popular kid in town. Sprightly and bright, she executed saut de chat after saut de chat,  and grand jetés after grand  jete  with both athleticism and charm.

John Ababon as Pagong 

Monica Gana as Kuneho 

Buwaya was portrayed by Ejay Arisola, whose menacing presence was matched by the scheming Francia Alejandro as the jewel-obsessed Paboreal. Their strong characterizations, paired with Sorilla’s choreography, created a simple but thoroughly enjoyable ballet. This was the first time I saw Sorilla take on something lighthearted, as he is typically a cerebral artist. I’m glad he understood the assignment and delivered with success—much to the audience’s delight.

Monica Gana also created a Filipinana-theme romantic duet danced on flats, entitled Para kay Gabriela. This piece offered a glimpse into the love story of Gabriela( the first Filipina General )and Diego. Beautiful in its simplicity, the duet featured Gabriela, played by Krislynne Buri, whose expressive dancing flowed seamlessly with the choreography. She was dutifully partnered by Renzen Arboleda as Diego. It was frankly too short for me, but it shows promise, a great step forward.

Krislyn Burri and Renzen Arboleda

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Works in Progress

Pasasalamat marked the third performance of Bam Damian’s piece C’est la Cie. Unsurprisingly, the program notes listed its world premiere as August 1, 2025. This powerful work has been in constant evolution.

In its initial showing last April, I was captivated by its ability to silence the people. At the end of the piece, I felt a bit conflicted about the piece. With the sea of white costumes and a set without wings, it inevitably evoked memories of Damian’s most famous piece in Manila, After Whom. With some of Damian’s signature moves—such as sliding on pointe and running into lifts—it was easy to understand why some might compare the two. However, when I saw it again at the International Dance Day Ballet Gala, I was struck by how much it had evolved. Movements were sharper, the dancers more fearless, and even the costumes were simplified: the men trading asymmetrical draping for plain white skirts. This latest version left me in awe. It had a new essence altogether. Damian’s refinements were genius. 

The piece begins with a female solo performed by Monica Gana against a backdrop of steel architectural installation. There is no hesitation in her approach; from the first note, she defies gravity with generous leaps and draws in the audience with a radiant smile, as if to declare, “This is our time now—to express, to impress, to captivate.”

Her solo is followed by Renzen Arboleda’s quick, skillful sequence brimming with agility and tricks. Soon, the entire company joins in, plunging into the black abyss of the stage. Damian deceives the audience with a few seconds of classical port de bras before he takes us into deconstructed ballet—drops, swoops, hip swings, flexed feet, and off-balance kicks. It’s a breathtaking showcase of speed, power, and artistic intensity. Watching it, I recognized the company’s respect for Damian, allowing him the freedom to keep shaping the work until he feels it is complete. If my pulse were the measure of success, then this piece was a triumph. I lost my voice screaming bravo to express my delight. 

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Honoring Legacy

The second half of the gala featured works by Norman Walker, a celebrated dance educator and choreographer with over 300 creations, six of which were premiered in the Philippines with the help of Alice Reyes: Vivaldi Concerto, Seasons of Flight, Songs, Drones, and Refrains of Death, Summer’s End, Songs of the Wayfarer, and Seraphic Fire—the last premiering in Pasasalamat. With Walker and Reyes’ artistic friendship spanning five decades, there was indeed much to be grateful for.

Also presented was Songs of the Wayfarer, which has become a rite of passage for each generation of Alice Reyes dancers. Originally performed by premier danseur Nonoy Froilan, the role has since been passed down to ARDP Artistic Director Ronelson Yadao and current principal dancer Erl Arisola. Over the years, the work has deepened in resonance. Arisola, who embodies its storytelling with conviction, has greatly benefited from multiple opportunities to work with Walker. He first encountered him six years ago, when the piece was mounted for Yadao, and all participants were required to join Walker’s master classes. This second chance to study with the choreographer gave him an undeniable edge. His performance was moving, articulating the pain of unrequited love with sincerity and nuance.

Seraphic Fire, Walker’s latest addition to his long list of works at age 91, was also performed. While I admired the sophistication of its movement and clarity of form, it was not my cup of tea. The energy and technique were undeniable, yet somehow I was completely underwhelmed. Some passages carried the nostalgia of classic modern dance, with tombelevés on one leg, swinging arms, and swirling formations with “held” port de bras. At the end of the piece, I really could not be transported to the mystical heavens.  There’s a possibility this statement will be bashed by Walker’s cult following, but I really could not see the heavenly angels in the piece.  Still, the piece reflected Walker’s enduring artistry, and it earned my respect even if it did not capture my imagination fully.

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A Dance of Gratitude

In the end, Pasasalamat was not just a gala—it was a meaningful experience. For some, it may have been simply a fine evening of dance. But for me, it was a love letter of sorts: a salute to the friendships and collaborations that built the past, a thank-you to the audiences who have remained steadfast, and a bow to the young dancer-choreographers who now carry the flame. Gratitude filled the stage—for what has been, for what is, and for the beautiful future yet to unfold. I could very well be wrong, reading more into a simple program. But if that is the message for this season, then I can’t wait to see more.

REVIEW: Third time’s a charm with ‘Encantada’

 

Republished article ... Original release can be seen in this link THEATERFANSMANILA

Alice Reyes Dance Philippines opened its season with National Artist Agnes Locsin’s  neo-ethnic ballet “Encantada”.  Starting strong, their first run at the Samsung theater elicited long-running curtain calls, standing ovations, and heartfelt declarations of acceptance. But nobody was prepared for the display of love on opening night at the Metropolitan Theater last April 21, 2023.  The phrase “and the crowd went wild” is usually reserved for sports arenas but  this old ballet from the 1990s  made it happen in the iconic theater. 

Encantada was the brainchild of three radical artists. Al Santos wrote the libretto, Joey Ayala the music and finally, it was directed and choreographed by Agnes Locsin. At the time of its premiere everything that they did was unorthodox. The theme was about taboos, the dance genre was contemporary and the music was tribal ( which was not your go-to music for ballets). The product was fresh and the audience embraced it.  In 2011, it was restaged by Ballet Philippines and it won numerous awards. But a lot has happened since then. The production value of shows has been inventive, contemporary dance is now at the forefront and the music industry has opened up. I wondered if the ballet could remain as potent as it was when it was created. Opening Night proved that this ballet was indeed a timeless classic. 

Purposeful Libretto

The curtains opened revealing Salvador Bernal’s majestic multilevel mountain glistening under the light of John Batalla. The moment of stillness would prepare the audience for a powerhouse performance of music, dance, and theatrics. With her feet grounded and connected to Bernal's mountain, Encantada played by Georgette Sanchez- Vargas descended from the top of the mountains and roused up the kababaihan. It was a soothing warm-up for the telling of a story laced with multiple social critiques on religious hypocrisy, the power divide in society, the violence against women, the oppressed, and the environment. 

The story has two different sectors that live by faith. The pagans of the mountains were the Kababihans who relied on their mystical Encantada and the devout Christians who lived in civilization. Through the narrative of the Estranghero who was a devout Christian, the abuse of  people and environment by the powerful Frailes would be told. In each major scene, Locsin was able to share a strong message.  For instance, in the story, the conflict intensified when the Christian icon of the Virgin Mary was turned over to the pagans who undressed it and worshiped them as their god.   This depicts that both sectors believed in the same higher power packaged differently. In the end, it is how you live your life in faith that is the true battle. 

In the story, the estranghero was saved by the Kababaihans from pain inflicted by his own sector. While he remained a devout  Christian he recognized the kindness of pagans and even lived with them in their sanctuary. The message is loud and clear different religions can coexist. 

The role of the estranghero was also quite powerful as it showed that the true devout could easily be persecuted by the powerful. The estranghero was pursued by the Frailes and the Guardia Sibil to his death. Consistent with our history as a nation, many of our heroes who have stood up for what they believed was right suffered. They were always the catalyst of change, the heroes that would be remembered.  

In the climactic battle between the Guardia Sibil and the Kababaihans,  they destroyed the environment and the spirit of the people. This is a direct call out not to bite the hand that feeds you.   There are many more poetic declarations in the scenes that the audience could pick up. Collectively the nuances have made the ballet a powerful social commentary. 

Locsin Choreography 

The pulsating music of Joey Ayala and Bagong Lumad evoked a vibe. It was ingenious to have the musicians hidden in the mountain. It seemed to breathe life into the mountain. In too many ballets, the singers take away the attention from the dancers but in this performance, the voices reverberated from the stage in the most glorious way. I am certain the dancers being so close to the live music could feed off the energy of the singers. Locsin’s rhythmic steps like stomping furiously to the beat of the music intensified the scenes bringing on  the 

Playing off the elemental sound Locsin’s choreography was a delicate display of nature. Memorable is the scene where the kababaihan heals the estranghero through the help of the Babaylan and the Encantada. Encantada lifts her arms to the sky and in a dramatic gesture pours healing into the hands of the Babaylan which the Babaylan then transfers to the Kababaihan. In this scene, the women act as a conveyor belt moving the body of the estranghero forward with their bodies. It looked like a  magical stream of water being poured out from the sky to his ailing body.

Similarly, in the scene of the great flood, bodies were rolling on the floor like objects swiftly being carried away by the current. There were scenes where the element of wind was the core aesthetic. The ensemble would run furiously in a circle creating the image of a human hurricane with their hair swept away from their faces,  the central energy mounting on stage. In the grand finale, the kababaihan toss their hair up and down like being one with the wind. Swaying hips, bendy torsos and a tempo that mimics gusts of wind created beautiful images.  

The beauty of Locsin’s choreography lies in how the movements themselves easily build up the characters of the story. For instance, Encatada could have been portrayed as the stereotype of mother earth,  colorful and vivacious. Instead,   Locsin’s Ecantada had the soul of a mother with hands that lifted in prayer, hands that could heal, hands that could nurture, and hands that could share joy. Her hand articulations were enough to convey emotions.  Her grounded movements established that she was part of the earth. Her feet were deeply grounded with most of the steps on fondu (on leg bent) but her upper body movements were weightless somewhat explaining that she is divinely connected to the heavens but rooted in service to the mountain and its people.  The Kababaihan ensemble had a lot of linked arms and intertwined bodies which emphasized their sense of community and harmony as opposed to the jagged and non-unified choreography of the violent angular movements of the Guardia Sibil.  

It could easily be my imagination but having seen this ballet multiple times, I started to notice picturesque scenes with a likeness to historical events. For instance, in the scene where the Estrangero was beaten up,  the two guards held both his arms and lifted him off the ground. His feet were intertwined and it looked like  Jesus on the cross. His role was a devout being persecuted and so it made sense. Alternatively, It could also be like  Rizal’s death scene where he falls on the floor because he dared revolt. In the scene where the Guardia Sibil were raping the women, they go to a circular formation and scream out their pain. It looked like there was a reference to Dantes's Inferno, where the mangled bodies scream in the sinner's haven. 

There were also so many references to Filipino heritage embedded in every major scene like the  Marinduque’s Moriones Festival, Manobo healing rituals, and ati atihan. It showcased  Filipino culture albeit reinvented in an alternate imaginary Locsin universe. 

Passionate Dancers

While I believe the material is the real reason behind the show’s success, the performers really brought their a-game. Neo-ethnic style is something hard to acclimatize with but the dancers seemed intent on giving justice to the choreography. Their passionate acting brought the story to a different level. Considering the technical demands of the ballet the cast’s endurance was amazing.

Georgette Sanchez-Vargas as the Encantada owned the stage displaying artistic maturity. Being a Locsin-trained dancer she was able to articulate Locsin’s vocabulary with ease. She traversed through the mountain levels with confidence. Despite being so high up in the mountain, her emotional scenes were strong enough to puncture the audience and elicit tears.  Carissa Adea who performed the role of Babylan showed a different temperament than the pioneer cast but was equally effective. She emphasized empathy and community in her storytelling. Ronelson Yadao who played the estranghero and Lester  Lester Reguindin who played the Fraile were dynamic in both their acting and their dancing contributing greatly to the drama. 

Third Time’s a Charm

This third staging of Encantada was successful for a reason. It gave full attention and respect to the material, the creators’ intention, and most importantly the artists.

Restagers Alden Lugnasin, Annette Cruz-Mariano, and Judelle de Guzman-Sicam drew from their experiences. The nuances that could easily be forgotten and imagery that could easily be non-recognizable were clear as day in this staging.

With Agnes Locsin herself at the helm of this production, she was able to school audiences that theater is not about glorifying one person’s art, it is about making sure everyone’s art comes alive. It takes a village to show something worthwhile. When the National Artist for Dance was asked how she felt about the outcome she said that everything fell into place and that she was happy about this staging. Indeed there is much to be happy about.

This now iconic ballet and the Alice Reyes Dance Philippines Company have just re-established the gold standard for creating a Filipino ballet.

Tickets: Php Free ( Registration Required)
Show Dates: April 21 - April 22, 2023
Venue: Metropolitan Theater 
Running Time: approx. 1 hour and 45 mins
Credits: Agnes Locsin  (Director), Agnes Locsin (Choreographer), Ronelson Yadao (ARDP Artistic Director), Joey Ayala (Composer), Al Santos (Librettist ), John Battala (lighting designer), Salvador Bernal  (Set Design, Costume Design), Salvador Bernal  Reproduction Consultant (Eric Cruz) Set Construction Supervisor  (Erlinda Arcega) Restagers (Alden Lugnasin, Annette Cruz- Mariano , Judelle De Guzman-Sicam)
Featured Cast:  Encantada ( Georgette Sanchez-Vargas), Babaylan (Carissa Adea), Estranghero (Ronelson Yadao), Fraile (Lester Reguindin), Joey Ayala, Bagong Lumad
Company: Alice Reyes Dance Company 

Bittersweet Romeo and Juliet

In the last two years, the company has been restaging ballets from  the treasure trove of Ballet Philippines repertoire. National Artist Alice Reyes' "Romeo and Juliet" is the last classical full length ballet to be restored before the company steps into their golden season. The idea of passage of rites at the end of the 49th season is quite fitting and beautifully symbolic. The dancers on the company frontline have been gifted with experience that can equip them as they step into the next chapter of the company's journey. Much like how Balanchine transfers his legacy through his trusted dancers, the company now has a fleet of people who worked directly with the choreographers (which is of utmost importance) in restaging moments in dance history. While it is not an assurance that the creations will be protected from ruin, there is a glimmer of hope that it will stand the test of time. There is also an opportunity to revisit the work and improve it as necessary.

Preservation Project 

This version of Romeo and Juliet was originally meant to be a commissioned work by a foreign guest choreographer. By some twist of fate it ended up being choreographed by national artist for dance Alice Reyes. The choreographer expressed that she was inspired by the grandiose Bolshoi Ballet version and the temperament of the San Francisco Michael Smuin's version. While the company has performed Romeo and Juliet several times, this version has only been performed thrice after premiering in 1981. In the recenty concluded performances the titular role was shared by Denise Parungao and guest artist extraordinaire Joseph Gatti, Monica Gana and Ronelson Yadao and Jemima Reyes and Victor Maguad. As declared by the choreographer most of it is in its original format with minor changes to adapt to skill level of the performers.

Test of Competence

The production proved to be quite a challenge for the dancers. Reyes had everyone dancing intricate patterns with grand sweeps, swivels and quickly executed partnering. This included all the character dancers who in their senior age also had to perform lifts, backbends grand battemonts (kick extensions). To say the least there were a lot of vibrant moments in the ballet celebrating the capabilities of the dancers. The competence of the company was highlighted when the Manila Symphony Orchestra would have evident misses on the tempo and the dancers would adapt to unreasonably slow timing or unbelievably quick pace. They thrived with a smile and a few unnecessary beads of sweat on their foreheads. Their coping mechanism was commendable beyond words.

Denise Parungao on opening night glistened with a new found maturity in her performance. She has always excelled in lyrical ballets but her depth in interpretation has visibly grown through the years. Her emotions were not reserved for the grand extended movements but the motionless moments as well. Her character was well sustained throughout the ballet. Fluid in movement and emotions, this may very well be one of her best performances ever.

In this version there is very little opportunity for Romeo to show off tantalizing tricks. Despite this, Joseph Gatti still captivated the audience with his  portrayal of Romeo. He still delivered his usual six pirouettes ending in arabesque and suave jumps which were highly impressive but he put a little bit more on the table to cement  his performance. His vulnerable moments were his best. Memorable was when he stabbed Tybalt. After the first unceremonious strike, he twisted the sword shoving it even deeper into the body in one vibrating movement in complete maniacal rage. Eyes fixed on Tybalt, his eyes turned soft as he had realized what he had just done. No tricks there just an authentic moment shared with the audience. It's true sometimes less is more.

Together Parungao and Gatti conquered the challenges provided by the orchestra. While they were robbed of a few moments of breath which the canned music provided they did not allow the speed of the tempo to take away the whirlwind effect of the balcony scene. Their transition from one lift to another were silky smooth. With every luxurious backbend or grand lift so much emotion was drawn out. They were equally mesmerizing in the bed scene. They were, throughout the ballet, fully committed to each other melting my heart both as a dancer and as an audience member.

Noteworthy were the performances of Ballet Philippines' technicians. Eugene Obile as Tybalt, Earl Arisola as Mercutio and Victor Maguad as Benvolio all delivered the required testosterone to dance side by side Joseph Gatti. They represented strong dancing from the Philippines with their expansive leaps and clean footwork. Butch Esperanza who played Count Capulet moved me to tears as he carried Juliet thinking she was dead. Every bit a veteran his face alone told the story of instant regret and inconsolable forlorn.

Missing the pointe 

The story of the ballet is well known to many but I believe that prior knowledge of the story should not be necessary when watching a ballet. All key elements should be clear as day. While the restaging was a vibrant one, I found that there were key scenes that were overlooked or underloved. In the first act the Prince of Verona gives fair warning to both the Capulets and the Montagues that lives shall pay for the forfeit of peace. However within days, the rivalry caused the death of both Mercutio and Tybalt. In the literature, the imagery repeats itself when the Prince of Verona imposes his final say about the rivalry which makes sense of the prologue that says "Two households both alike in dignity in fair Verona... where civil blood makes civil hands unclean". The Prince of Verona giving his final judgement of Romeo was not shown in the ballet which for me is of vital importance. This missed scene emphasizes that Romeo and Juliet is not simply a love story but a story about the uselessness of rivalry and the importance of moral restraint. The scene also explains why Romeo had to leave Juliet so urgently because if he did not leave he would be killed. In this version after the bodies are taken away, Romeo's goodbye quickly follows. It should be noted that the Bolshoi version which is one of the inspirations for the ballet also did not have this scene but instead had both parties come out with the both dead bodies and the two camps blaming each other through mime and tableau framing the bed scene that ends with a goodbye.

Another important scene that was missing was the unfortunate timeline of Brother John who was supposed to deliver the Priest's message to Romeo. Since this was not included, it seemed as if the priest was irresponsible and remiss in his promise to Juliet making him out to be the ultimate murderer.

In the last scene, when Romeo comes to see the supposedly dead body, Paris is nowhere to be seen or he was presumably already killed by Romeo. This diminishes the tragedy a bit because it does not quite show how desperate and ravaged Romeo is at this time.

All the deaths with the exception of Romeo and Juliet's demise were underwhelming. When Mercutio dies, no one except his lover came to his aid. When Tybalt dies, again no one commiserated. Rosaline took over Mother Capulet's lament. She didn't even touch the body instead she and the husband performed a very cold series of choreography. No tears for Tybalt. When the Capulets found Juliet's cold body, Mother Capulet still does not have the opportunity to hold her child. In all these dying scenes, choreography was prioritized over sentimental movement which left me unaffected and unmoved. It wasn't until Romeo and Juliet's  final death that I was emotionally shaken.

A ballet is of course based on the director's vision which I fully respect and acknowledge, I just think the story could have been more true to the text had it included more of the layers and less ensemble dancing. While I had issues with the story telling there is a whole lot to still be proud of. First of all, this was a Filipino made ballet that lasted decades. The mere fact that it was ornately made by National Artist Alice Reyes with sets and costumes by National Artist  Salvador Bernal instantly makes it a historical gem worthy of preservation. Second of all, the ballet as a whole had a wealth of movement. The aesthetic of this version was strong, bold and memorable. The sequences were intricate and musical. Lastly, it is a ballet that showcased that Ballet Philippines is resilient, strong and competent. This is a company ready for their golden season.