My friend Doreen, a discerning theater lover, warned me through a message one early morning: “I hope you’re watching Alice Reyes’ Carmina Burana tonight. Prepare to be floored.” And guess what, I was floored all evening!

The two-tiered, vast, fifth-floor lobby of the Samsung Performing Arts Theater inside Circuit Makati in Makati City was abuzz. Though I consider myself a regular, I had not witnessed this kind of frenzy and excitement over a night’s show. A distinct voice, from someone who was obviously an eager repeat watcher, exclaimed, “Seems like it’s another all-seats-taken night again, just like the gala performance!”

Still at the crowded anteroom, the restless audience in several subgroups were sternly comparing program notes, a rarity never seen before. There were signs of certainly bated breaths in agonizing anticipation.

As the curtains were drawn, an absolute and utterly deafening silence followed. It was unlike any other production, which always began with a blast of overture. However, the stage was filled with bodies, careful not to make a single noise. Through the you-can-hear-a-needle-drop quiet, there was a single deafening stomp, followed by synchronized pounding of the feet, setting the entire show into grand motion. I felt I was in for a grand night of dance and music.

First of the four pieces was Dugso (The Offering), an ode to the Bukidnon rite of passage of a young man, as presided over by a traditional shaman. The intense, precise choreography, we learned, was faithfully inspired by the eponymous ritual dance of several indigenous ethnic groups of Mindanao including the Manobo, Bukidnon and Talaandig Manobo.

Summer’s End portrayed a sweet, bittersweet, and fleeting summertime Romeo and Juliet-esque relationship between a boy and a girl. The pace was at the opposite side of the pendulum compared to the previous, as it lulled us into a sense of calmness.

What followed was an ensemble performance in After Whom. This abstract dance set to fierce music was a flawless showcase of the company’s technical skill. The title was loosely based on the subjugation of women, specially how they are oftentimes forced into walking behind men in certain parts of the world.

Finally, the masterpiece, Carmina Burana, was the star of the evening! The main text contained 24 songs carefully picked out from an encyclopedic manuscript of 254 poems and prose, with Latin, Middle High German, and Old French lyrics.

The choreography told the story of a community as they go through the wonders of life and love, often in exotic and pagan, spiritual and divine contexts. The main movement was set to the haunting hymn O Fortuna, while other sections included poems such as “Ecce Gratum” and “In Taberna Quando Sumus,” all with their very own arrangements.

The evening show by Alice Reyes Dance Philippines highlighted baritone Byeong In Park, soprano Lara Maigue, members of the Professional Artist Support Program, Philippine Madrigal Singers, Philippine Philharmonic Orchestra, the Kilyawan Boys Choir, and the University of the East’s Silanganan Dance Troupe. Music was conducted by Maestro Herminigildo Ranera.

All I can say is that they did it again! The combination, touch, inspiration and influences of the various National Artists, namely, Alice Reyes, Andrea O. Veneracion, Dr. Ramon Santos and Salvador Bernal, all proved to be nigh unbeatable.