“Alice Reyes’ Rama, Hari was a feast for the eye, the ear and the soul,” declared Priscilla Magdamo-Abraham, an ethnomusicologist, one who studies music globally, and its impact socially and culturally.

“The dancers brought the characters to life with fluid, expressive movements, while the choreography beautifully captured the essence of the epic,” reviewed congresswoman Jocelyn S. Limkaichong from the First District of Negros Oriental.

“It was the passion, enthusiasm, pride and devotion of the young dancers that put it ahead of other great performances, such as those of even the Russian Ballet. Alice’s final touch of genius was to mingle the performers and audience, whose selfies testified as to how much of their appreciation was reciprocal,” boasted Fred Abraham, who holds positions at University of California, Los Angeles, University of Vermont, and Silliman University.

Meanwhile, poet Myrna Peña-Reyes noted the collaboration among top Philippine creators in this show. “The production was a uniquely wonderful theatrical experience out of the collaborative interpretation of the Ramayana by top Philippine National Artists,” she said.

These were just some of the glowing reviews of National Artist for Dance Alice Reyes’ Rama, Hari, a rock-opera-ballet, which went on a highly-anticipated and well-received tour in the Visayas region, particularly, at the St. La Salle Coliseum in Bacolod City, Negros Occidental, and the Silliman University’s Luce Auditorium in Dumaguete City.

And the ratings were justified. After all, it truly was a supreme alliance among the greats —Alice Reyes led the concept, choreography, and direction, as she tapped four other National Artists, geniuses all, such as Ryan Cayabyab (music), Salvador Bernal (theater design), Bienvenido Lumbera (literature) and Rolando Tinio (theater and literature).

Based on the Sanskrit epic Ramayana, Rama, Hari follows the journey of Prime Rama and wife Sita, the couple’s exile, and the grim encounters with the antagonists Ravana and Soorpanakha.

The theater performances were the perfect blend of Filipino and Indian influences — from music to the visuals.

The singers were a full-blown cast of stalwarts, including one of the brightest talents, Arman Ferrer as Rama, and theater mainstay Shiela Valderrama-Martinez as Sita and Kaikeyi.

Meanwhile, the multiple acts showcased the full breadth of Alice Reyes Dance Philippines, with artists such as Ejay Arisola as Rama, Monica Gana as Sita, Karla Santos as Kaikeyi and a rotating alternate cast for the rest of the roles — ensuring an energetic and varied rondo for every scene.

Nes Jardin, who was once a dancer at the Cultural Center of the Philippines (CCP) and has since climbed up to become one of its erstwhile presidents, had this to say: “I was part of the original production team that first mounted Rama, Hari in 1980. It’s therefore heartwarming to see it restaged in Bacolod and Dumaguete City after 44 years and still receive the same enthusiasm and applause that it got during its premiere at the CCP. This is a testament to the fact that Alice, Bien, Ryan and Badong created a masterpiece that has withstood the test of time.”

From the sheer excellence of five National Artists to its cultural impact, Rama, Hari is definitely here to stay.

¡Enhorabuena, Alice Reyes Dance Philippines!