A celebration of versatility

ARDP restages ‘Amada’ and other rare gems

FOR National Artist for Dance Alice Reyes, there is excitement in seeing the next generation of dancers take on both classic and modern pieces, requiring the exact versatility that Alice Reyes Dance Philippines (ARDP) revels in with their vast repertoire.

This April, the company will show off the fruit of their hard work with PAGDIRIWANG: Sayaw Alay sa Sining, a mixed-bill program that restages seven pieces of various genres. One of these is Ms. Reyes’ own dance “Amada,” first choreographed in 1969 and last staged in 2017.

“I love passing these dances down to the new generation of artists, who will give it a life of their own. We train a lot of our new dancers by recalling older dancers and choreographers to teach them,” she told ����ý at a press conference in Makati early in March.

“A�����岹” is based on a short story by Nick Joaquin titled “Summer Solstice,” set in the 19^th century. It follows the aristocratic Doña Amada and Don Rafael who find their lives changed when the former attends the women-only summer-solstice festival Tadtarin.

Considered an iconic piece in Philippine dance history, Ms. Reyes’ choreography extracts the tension within the original story and translates it into a push-and-pull between traditional male dominance and rising female power. It features music by National Artist for Music Lucrecia Kasilag and set and costume design by National Artist for Theater Design Salvador Bernal.

Ms. Reyes highlighted how “A�����岹” requires “powerful body and hair movements” to express tension, authority, and opposition. “It’s why the lead role requires a dancer with long hair,” she explained.

The upcoming restaging is made even more special because it is the farewell performance of multi-awarded ballerina Candice Adea, who will take on the titular role before she retires from dance.

“For years, Candice did ‘Amada’ and she did an amazing job. She recently retired as a soloist from the Western Australian Ballet, and this will be her last time on the Philippine stage. We’re taking advantage of that,” said ARDP Artistic Director Gonelson Yadao.

“She’s a very important figure in Philippine dance because she has really made strides for us here and abroad,” he added.

A STRONG VISION
Starting its 4^th season with a set of seven masterful works by renowned choreographers is ARDP’s show of strength with regard to its vision. It represents “what Alice Reyes has always wanted for a dance company,” according to ARDP President Liliane “Tats” Manahan.

“It’s a company that doesn’t settle for one thing, but can do multiple genres. Through the years, Alice has stuck with that,” she said.

In a media preview, dancers showed a glimpse of four of the pieces, including “Amada.”

Kun-Yang Lin’s “Moon” stands out as the only solo. First choreographed in 1994 and last staged in 2021, it features Dan Dayo as a priest of an ancient culture paying homage to heavenly deities with a spiritual yet ecstatic dance mixing Eastern movements with modern expression.

Augustus “Bam” Damian III’s “C’est La Cie,” in its world premiere, has a group of dancers, led by Sarah Alejandro and Monica Gana, explore explosive, neo-classical styles of dance.

Norman Walker’s “Songs of a Wayfarer,” premiered in 1973 and last staged in 2017, follows up with a more pensive and sorrowful pace, backed by Gustav Mahler’s music. It tells a story of unrequited love, with the man grieving over his lover’s marriage to another.

“Mixed-build programs are important because it allows our dancers to have a balance of what they can do in our repertoire. It’s how the likes of Monica (Gana) and Ejay (Arisola) can take on this piece, among others,” said Ms. Reyes.

The other three pieces that weren’t shown at the preview are Carlo Pacis’ “Nocturne” which is a tender yet controlled pas de deux; Adam Sage’s “Glinka’s Valse,” known for its dynamic rhythm showcasing one male dancer and seven female dancers; and Denisa Reyes’ “Muybridge/Frames,” an abstract ballet inspired by sequential motion photographs as if in a moving picture show.

Mr. Yadao emphasizes that the company is versatile because of how its dancers are trained to “articulate movement clearly.”

“It’s why more senior dancers and choreographers are important in showing them the right steps. We remember based on muscle memory, and we can share the nuances that might not be initially obvious from watching a performance,” he said.

PAGDIRIWANG: Sayaw Alay sa Sining will be staged on April 4 and 5 at 2 and 7:30 p.m. at the Globe Auditorium of the Maybank Performing Arts Theater in Bonifacio Global City, Taguig. Tickets are available via TicketWorld. — Brontë H. Lacsamana