Alice Reyes’ vision perseveres: ‘Pagdiriwang’ is proof
Renzen Arboleda lifts Krislynne Buri in different versions of the over-the-shoulder lift. He hoists her to his shoulder, guides her as she coils around his body, and gently lowers her to the ground.
“Spiral, Krislynne, spiral,” Ronelson Yadao instructs, emphasizing that she curl her body as her partner twists his torso to move her around.
Inside the Steps Dance Studio, Alice Reyes Dance Philippines (ARDP) rehearses its season opener, “Pagdiriwang.” Ballet and rehearsal master Lester Reguindin coaches Arboleda and Buri, portraying Oberon and Titania in Carlo Pacis’ “Nocturne,” a “Midsummer’s Night Dream” pas de deux portraying their reconciliation.
This piece is one of seven showcasing the dancers’ stylistic range. Arboleda and Buri, with their lean, taut physiques and elongated limbs, are ideally suited for dance. Buri’s delicately poised head completes her elegant form.
Both Yadao, ARDP’s artistic director, and Reguindin, ballet and rehearsal master, having themselves played Oberon, remember Carlo Pacis’ insistence on precise technique. “The pas de deux demands considerable strength from the male dancer,” Reguindin explains in Tagalog. “Due to the frequent over-the-shoulder lifts and supported dips, you must make the partnering appear effortless. Beyond the physical lifting, you need to connect with your partner and convey the narrative. That’s the challenge of ‘Nocturne.’”
Meanwhile, Yadao focuses on developing the dancers’ ability to articulate movement clearly. “I prioritize ensuring the movement originates naturally within the body so that it translates on stage,” he explains. “The audience should perceive how the movement flows from the feet, through the knees and hips, to the head. That’s how I experience and execute movement. Transitions must be distinct. My coaching reflects this approach. I consistently ask the dancers, ‘Where does this movement originate? Does it feel natural? If not, why?’”
His training at Cloud Gate Dance Theatre of Taiwan cultivated his ability to perceive every muscle, joint, and bone and use them to the maximum.
Contrast of styles
Through rigorous training and extensive rehearsal, ARDP dancers are equipped to deliver powerful and nuanced performances for their 2025 season.
After a first quarter dominated by ballet in Manila’s dance scene, “Pagdiriwang” offers a refreshing contrast, showcasing both neoclassical ballet and modern dance styles. ARDP founder and National Artist Alice Reyes underscores her dancers’ versatility in pointe work and barefoot performance. The ballet pieces evoke distinct emotions. “Nocturne” emphasizes tenderness, fluidity, and control, while Adam Sage’s “Glinka’s Valse” is a fast-paced ballet, expressive of Mikhail Glinka’s waltzes, with a demanding solo for a single male amid seven female dancers.
A foil to the two lyrical neoclassics, “C’est La Cie” blends abstract ballet on pointe with percussive and modern dance movements. This world premiere is a gift of gratitude from former Ballet Philippines artistic director Augustus “Bam” Damian III.
Denisa Reyes’ revival of “Muybridge/Frames,” inspired by British photographer Eadweard Muybridge’s motion studies, uses male dancers to create a progression of movements, mimicking the multiple-image effect in photography. Kun-Yang Lin’s solo, “Moon,” transforms the body into a vessel for prayer as it whirls into spiritual ecstasy, as Eastern gestures meet modern expression.
Norman Walker’s “Songs of a Wayfarer,” inspired by Gustav Mahler’s song cycle of unrequited love, depicts a man processing grief after being abandoned by his beloved, interpreted in classic Martha Graham style. In Gen Z language, it’s about “Totga” (the one that got away).
Reyes’ “Amada,” based on Nick Joaquin’s “Summer Solstice,” explores the tension between traditional male dominance and rising female power in 19th-century Philippines, utilizing the “Tadtarin” ritual, where women subjugate men.
The dancers maintain Reyes’ signature style: free, fluid movement, rounded lines, and a focus on the connection between movement and breath, resulting in a light, lyrical quality. This contrasts sharply with Walker’s earthy, linear style, characterized by physical tension.
Challenges
“Pagdiriwang” is a significant milestone for the company. Born during the pandemic, ARDP has persevered through strong community support and the dancers’ dedication. Despite lacking a permanent studio and theater, and without foreign guest artists or teachers, the dancers have maintained their technical proficiency.
Senior dancers such as Sarah Alejandro and Monica Gana have been keeping the ballerinas on their toes—quite literally. The company trains in the Metropolitan Theater’s cramped studio. When available, Sofia Zobel Elizalde, founder/director of Steps Dance Studio, generously allows ARDP to use her facility.
The ARDP board secured restaurateur Colin Mackay’s Blackbird to host the press launch. Friends have also supported the dancers by “adopting” them, helping to cover salaries. However, due to high venue costs, ARDP will stage “Pagdiriwang” at the Globe Auditorium/Maybank Performing Arts Theater on April 4 and April 5.
“Planning our season is challenging,” Reyes explains. “We hope to get a venue grant or find a buyer for our show. Last year was full of performances, and our dancers received bonuses and 13th-month pay. We had enough savings to cover salaries until March.”
Despite the challenges, the show must go on. Reyes remains committed to nurturing talent. She had been grooming Yadao to lead the company even before the pandemic.
“Nelson is a natural leader,” she says. “He collaborates well with theater professionals and knows a lot about the younger generation of lighting designers and production staff. He’s also humble and has a good sense of humor, which is important.”
Reguindin’s appointment stems from his sharp memory and meticulous coaching. “Lester has a strong command of the material, and the dancers respect him,” Reyes commends. “They enjoy working with him because he’s clear about his goals, and his counting is precise.”
Reyes, says Reguindin, has been a significant influence. “In choreography,” he notes, “she emphasizes storytelling, musicality, transitions, breathing, and synchronization.”
After five years at Cloud Gate, Yadao returned to share his experience of working in a company that integrated martial arts with ballet and Martha Graham technique. “Landing this role as artistic director, I’m learning to be exacting and putting the company first,” he says.
Though Reguindin could have pursued other opportunities, he chose to stay with ARDP. He appreciates the chance to choreograph and enjoys the company’s diverse repertoire. “I also like sharing my experience with the eager young dancers,” he adds. “That’s the beauty of this company—it’s collaborative, making it a place you want to be.”
