“In 1976 when the company was still known as the CCP Dance Company of the Philippines, Bien Lumbera and I were both delighted by E. Arsenio Manuel’s folk tales of the Manobo [ethnic group] in Mindanao. We agreed that the tales could be rich material for a rock-opera ballet, a dance concept still in its nascent state in the Philippines,” recalled Alice Reyes, National Artist for Dance, on her opus: Tales of the Manuvu.
“Although dance is about change and movement, the Alice Reyes Dance Philippines (ARDP) puts value and currency in proven works. By doing so, it maintains a strong repertoire of both classical and modern ballets. It continues to offer new exciting works by its set of young choreographers and fosters a collaborative environment for Filipino artists — all in a mission to keep dance as an art form that provokes, excites and engages the national spirit and consciousness,” she went on in the choreographer’s notes.
Oh, yes, on the way to Makati’s newest stage, friend and neighbor Nes Jardin confessed he danced as the evil god Ogassi once upon a time. He has since moved on — from performer to president of the Cultural Center of the Philippines (CCP), and today onto other laudable ventures, which says a lot on how this musical goes way back, with the thrill and magic still solid and intact.
Expectedly, on 28 March, the house was full! At the Proscenium Theater lobby, groups of several close friends gathered early. Familiar faces were eager to spend another entertaining evening at the theater. Though first staged in 1977, Tales of the Manuvu continued to draw crowds.
The classic, choreographed and directed by Alice Reyes with libretto by National Artist for Literature Bienvenido Lumbera, and music by Dero Pedero, returned under the ARDP, in partnership with the National Commission for Culture and the Arts (NCCA) and the CCP, but it was not modernized, presented as it was, no ifs, no buts.
This was how the program unfolded. Two extended stage platforms accommodated six singers each, with two more who delivered the narrative. They remained visible throughout, which kept the thread understandable.
The UP (University of the Philippines) Concert Chorus, led by Janet Sabas-Aracama, provided the vocals. Sharp tone and firm delivery. They moved across the demanding styles with ease.
The repertoire began with Tabbayanon. A simple cue — watch, listen, take meaning. The audience settled.
Part I lays out the beginning. Manama, god of good, presided over a sparse realm. Ogassi, his nemesis, thrived in abundance. The contrast was absolutely immediate. A small act — ownership of soil and seedlings — set conflict in motion. Tension built up without rush.
Part II introduced the First Man and First Woman. Creation was incomplete. Mortality seeped through interruption. The mood instantly shifted. Curiosity. Hesitation. Then restlessness. The First Man began to ask: why alone? why incomplete?
Part III brought the story closer to ground. Distance grew between heaven and earth. Nature was less forgiving. When Manama raised the sky to escape the noise below so he could sleep, the gesture felt oddly familiar.
What followed was direct. Ogassi unleashed the giant Makarallig. Chaos spread, disorder ruled! No rescue from above. The community responded. They organized, resisted, and reclaimed their space. The end rested — individuals shaped their own fate, together.
The choreography remained unmistakable and disciplined all throughout. Reyes kept movement apparent. Lines were distinct and clean. Groupings were precise and rigorous. Nothing was excessive.
The UE (University of the East) Silanganan Dance Troupe, under Gener Caringal, met the demands.
Design elements supported the scenes with grace. Sets and costumes by award-winning director and designer Loy Arcenas framed the stage in era-accurate motif. Lighting by Yale School of Drama MFA graduate Barbara Tan-Tiongco guided the eye to crucial spots. Musical arrangements by Francis de Veyra kept the score accessible, as he respected the roots.
For the 28 March performance, the cast carried their respective roles with precision, to a new high in song and dance. Manama was performed by Joshua Cadeliña (singer) and Renzen Arboleda (dancer); Ogassi by Almond Bolante (singer) and Earl John Arisola (dancer); the First Man by Ado Villanueva (singer) and James Galarpe (dancer); and the First Woman by Christy Lagapa (singer) and Krislynne Buri (dancer).
Tales of the Manuvu successfully perseveres as the pioneer of the Philippine rock-opera genre, as it rightfully should be. The response? A composition, a program, a presentation from 1977 can still fill up a theater. Applause and more applause and louder cheers everywhere!
¡Enhorabuena, Alice Reyes!