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.

Changing of the Tides

First quarter of the year has ended and so has ballet season for our major companies. In what seems like a strange plot twist Ballet Philippines and Ballet Manila ended their seasons with bold  uncharacteristic choices. Ballet Philippines  who is known for being the edgier choice, chose a classical ballet Don Quixote. Incidentally Don Quixote  was Ballet  Manila's year ender in 2017. Ballet Manila  packaged as a lover of tradition chose to do Ballet Ballads with their main event being  the premiere of new contemporary pieces. It seems for two weekends there was a freaky Friday switch of some sort as BM fiercely represented modern ballet and BP did the same for classical ballet. The cross over was quite interesting. 

Don Quixote 

Ballet Philippines' "Don Quixote" had quite a number of things to offer. Principal dancers taking on the soloist roles, an orchestra, a guest artist, even a tapas diner. With the long history that Ballet Philippines has with the ballet, I'm happy that at the end of the day it was not the frills but the actual dancing that won me over. 

International guests Joseph Gatti and Filipina Candice Adea did not disappoint. Their chemistry was palpable and their humor relatable. Both seemed to be having the time of their life despite the physical demands of the ballet.They never really let each other go constantly connecting with each other with a glance, a choreographed touch and even a couple of smirks. Their friendship showed in the the seamless partnering through the acts. 



Gatti swept the audience off their feet with his dynamic way of dancing. He represents what ballet could be for this generation. There was a time whene artistry was the priority and the awkward now  period where ballet is  equated to numbers and tricks. Gatti strikes the balance with athleticism and likable allure. He doesn't capitalize on  "more is more". His presence is cool and not overbearing. His tricks are intelligently created in the sense that he doesn't merely add another turn or another jump in a series. He adds a twist to his steps that emphasize strength and technique. For instance, while he does five pirouettes consistently, he often whips a six and ends it with a lengthy balance on arabesque. The usual consecutive tours are replaced with tours peppered with one leg jumps leaving people gasping. He reminds me of a young Angel Corella, a breath of fresh air. He is boyish but delivers manly and virtuoso dancing all with a relaxed breath. 



What was uplifting about this show was how the Filipino dancers took the spotlight. Celebrated Candice Adea kept the audience entertained with her quirky ways. Ronelson Yadao was smooth as Espada. He brought his own light with him wherever he went making sure that his character was never forgotten. Denise Parungao played Mercedes and Dryad Queen and her lyricism was mesmerizing. It was nice to see our own dancers not overshadowed by an awesome guest artist. 

Denise Parungao as Mercedes

Ronelson Yadao as Espada 

The ensemble honestly could have been better. Having seen the show several times, I could literally see the younger ones relaxing instead of engaging. It was a bit sad to see Gatti gawking. Every role is important and   contributory to a story. (A little of this can be seen in the photos below). I also felt that on opening night, Manila Symphony Orchestra robbed us of a few seconds of Gatti magic. Their timing particularly for Gatti portions were off and even as Gatti signaled (by walking ever so slowly and NOT DANCING) that they messed up they didn't bother to do it over. Some of his tricks were cut short. I did hear they did amazing on the second show the next day. 

Don Quixote was energetic, colorful and a display of very good dancing. Bravo. 

Cast:

Kitri :Candice Adea

Basilio: Joseph Gatti

Mercedes and Dryad: Denise Parungao

Espada : Ronelson Yadao

Cupid: Jemima Reyes 

Ballet and Ballads 

Ballet Manila closed their 22nd season with their longest running concert series "Ballet and Ballads". With a mixed bill their theme was about love perfectly in tune with the month of hearts.  I didn't find the need to string all the pieces together as their main point was to celebrate ballet and ballads and their collective universality. While I appreciated the beautiful words individually,  it was quite difficult to swallow the connection of the pieces. It's difficult to correlate Black Swan a piece about love and deception with El Adwa  which is about war and combat. Also with ballads meaning "danceable music" portions of just the orchestra playing against John Batalla's admittedly gorgeous lights were off. While it fully showcased the skill of the ABS CBN Philharmonic Orchestra it went against the grain of the theme. 

Ballet and Ballads did however give birth to a couple of heavy weight pieces that I reckon will stay with the Company for a very long time. Bam Damian created El Adwa, a powerhouse piece filled with exciting lifts performed by lead couple  Joan Sia and Romeo Peralta.  Performed with strength, the spiraling from one aesthetic shape to another was breathtaking. It is unfortunate I was not able to immortalize in photo the ensemble because with their best men, Ballet Manila claimed mastery of Damian's neo-classic style. Damian has always worked magic with tour de force pieces with men, he does it again with El Adwa. Their movements were definitive and filled with testosterone and really did a good job in mimicking the robust energy of soldiers. Filled with a string of  various jetes (elongated jumps) and barrel turns it was quite a test of  stamina.Truly, the choreography was a good fit with the dancers. Showcasing their very best abilities, it was such a triumph. 

Aria created by Martin Lawrence was a piece about the different stages or forms of love.As Martin Lawrence explains " Aria is my response to these beautiful arias that have been written by Verdi, Puccini and Bizet. It takes you on a journey of heartbreak and requited love". That it did. The piece was quite memorable because of its relatability. The dances were situated in communal spaces, the living room, the kitchen table, the family room. It took us to a journey about the not so nice part about married life. The nuances were on point. The story telling about  awkward silences, combative voices, wanting to be heard were all skillfully elaborated. Three pairs  told three different stories but they all ended up in one couch, on the same page of struggle. Particularly touching was the partnership of Mark Sumaylo and Abigail Oliveiro which had a high level of connectivity given the seduction aspect that was highlighted. In their pas de deux there was a lot of variations of the "embrace" alternating between loving and suffocating. In my eyes it was more a depiction of an impulsive kind of love that has not quite reached maturity. Their dancing in contrast was strong and magnetic. My only comment was that the ballet may be seen differently depending on where you are seated. It is best seen in Orchestra Center. 

As the title implies classical ballet was still represented. Originally  created for Lisa Macuja-Elizalde and Rudy De Dios " Ilsa Dyur" (trivia: it is their names in reverse) is highly technical.Though this one is a restaging, I would say the piece was reborn.  Not many can perform the piece so it's an achievement for a couple to make it look their own.  It's vocabulary is classical ballet but it is branded by Damian's luxurious aesthetic. The usual supported pencees were made extra beautiful with rounded contrasting arms. Traditional overhead lifts were seen in different perspectives. Jasmine Pia Dames and Rudolph Capongcol succeeded and  looked quite comfortable and at ease performing such a difficult ballet. Dames conquered the quick footwork which consisted of hopping echappes, pirouettes, small jumps paired with corner pique turns with legs extending to the front and to the back all in packed in a minute. It was a exquisite  play on Tchaikovsky's music. Capongcol likewise delivered with controlled arabesques and crisp cabrioles. The grand pas de deux was light and highly entertaining. 

Despite the lack of fluidity in concept, it cannot be denied that Ballet Manila showcased their capacity to adapt to modern times. Their ability to perform more contemporary pieces gives their name a lift. In the past years they have started to redefine themselves as a heavy hitter in modern ballet. While they stuck to one branch of modern ballet, with  constant encounters with Martin Lawrence, Annabel Ochoa and Bam Damian they have gotten a whole lot stronger. Any company would want a good balance between the new and the old. 

Black Swan Pas de Deux by Heewon Cho and Elpidio Magat

Pinoy Ako Choreographed by Jonathan Janolo 

Kapit choreographed by Lisa Macuja 

Changing of the Tides

Now that the ballet seasons have ended, I'm left thinking about what to look forward to for 2018. Rumors have been silenced about sharing a weekend of  Carmina Burana for Ballet Philippines and Ballet Manila and a follow up performance of the same ballet for Philippine Ballet Theatre. I'm glad because the consistent repetition is tiresome. Perhaps it is not intentional but it's also not great programming. In basic marketing, competitor analysis is key.   There's a million ballets out there. Should the intention be about changing of the tides or reinvention of all the companies then may it be through newly created pieces in both contemporary and classical ballet formats. May coping with the "new"result in a showcase of Philippine  premieres. Perhaps a staging of Balanchine, Alice and Wonderland, Manon or a new full Filipino epic perhaps? I am the worst example of an affected audience just because I see something beautiful in every show but I feel not everyone will be like me. I'd like to encourage everyone to experience something distinctly magical at the theatre. Here's to hoping for  a showcase of diversity this 2018.