Alice Reyes on restaging Rama, Hari: Authenticity is the way to go

Karylle Tatlonghari to play Sita alongside dancers Monica Gana and Katrene San Miguel

Arman Ferrer as Rama

Photos by Jojo Mamangun

“I am not a social media person, but I fully accept that I live in today’s world surrounded by dancers, artists, friends and, yes, family, who are all active. So I learn as much as there is to learn, while I hang on to listening to birds and admiring trees,” National Artist for Dance Alice Reyes begins to describe to TheDiarist.ph the context and challenge of restaging the iconic rock opera ballet Rama, Hari in the digital era. It opens September 15 at the Metropolitan Theater, Arroceros, Manila, will be staged there until September 16, and moves to the Samsung Performing Arts Theater at the Circuit in Makati on September 22-23.

It features artists from the Cultural Center of the Philippines’ Professional Artist Support Program and the Alice Reyes Dance Philippines.

Reyes adds, “Staging Rama today is much like before, in that our guest artists all wanted to be in this 2023 Rama. That is a gift to someone like me working with a company with very little funding but rich with repertoire, like Rama, Hari, and Encantada, and Tales of the Manuvu.

“They all blog and post at every opportunity—I can’t keep up!

“Yet old-fashioned generosity continues, like Karylle Tatlonghari bringing dinners for hungry dancers and singers,  and Shiela Valderrama-Martinez surprising all with donuts and other wonderful baked treats!

“All kinds of generous support from so many directions, too.”

Liliane “Tats” Manahan, the president of the Alice Reyes Dance Philippines, tells TheDiarist.ph about the digital challenge facing the performing arts today: “The upside is that publicity is much easier in that there are so many platforms on which one can promote the production… the number of likes on reels, for example. And the medium need not be tackled professionally.

National Artist Alice Reyes (left) and ARDP president Liliane ‘Tats’ Manahan

“The downside is precisely the upside, too, because the information transfer is necessarily quick.. a matter of seconds, or just captions. The beauty of total information is truncated.”

Rama, Hari, the highly-acclaimed Filipino rock opera ballet, holds the distinction of being the only collaboration featuring the masterful works of five National Artists—Alice Reyes for direction and choreography, Ryan Cayabyab for music, Salvador Bernal for production design, and Bienvenido Lumbera for the lyrics and libretto, with English translations by Rolando Tinio.

It is presented by the National Commission for Culture and the Arts, in partnership with the Metropolitan Theater, the Cultural Center of the Philippines, and with the generous support of Birch Tree Adult Boost.

Musical theater star Arman Ferrer plays the lead role of Rama, with Vien King as alternate. They will perform alongside dancers Ronelson Yadao and Ejay Arisola.

Ejay Arisola and Katrene San Miguel dance Rama and Sita

Karylle Tatlonghari, Shiela Valderrama-Martinez, and fresh-faced talent Nica Tupas alternate in the role of Sita, with dance counterparts Monica Gana and Katrene San Miguel.

Rak of Aegis star Poppert Bernadas, is the demon King Ravana, alternating with Los Angeles-based musical theater actor Mathew San Jose who’s making his Manila debut, and Jonel Mojica. Dancing the role are Richardson Yadao and Tim Cabrera

Mathew San Jose (Ravana)

Theater icon Audie Gemora performs the role of King Dasaratha. Also in the cast are Katrine Sunga and Maron Rozelle Mabana in the dual roles of King Dasaratha’s Third Wife, Kaikeyi, and the Golden Doe, while Miah Canton, and Raflesia Bravo take on the dual roles of Kaikeyi’s evil adviser, Kooni, and Ravana’s demon sister Soorpanakha.

Paw Castillo and Jon Abella play Monkey Army General, Hanuman, and Rama’s brother Lakshmana.

Manahan tells TheDiarist.ph: “The plus point is that all of the cast members are theater actors, so they are more at home with movement. However, the original cast (Basil Valdez and Kuh Ledesma in the lead roles) were recording artists who delivered the narrative purely through the sensitivity of their intonation, the expression of emotion through their voices.

“It is hard to compare, but one thing sure is that they all do justice to the music and the lyrics of these beloved National Artists.”

Inspired by the ancient Sanskrit epic, Ramayana, the ballet tells of the adventures of Rama, prince and incarnation of the god Vishnu, who comes down to earth to save the world from Ravana, the most powerful of demons, and in time, falls in love with Sita, daughter of the king of Mithila, Janaka, and eventually marries her. The evil Ravana attempts to tear the two apart only to find himself defeated and his demonic plans thwarted.

It has the distinction of being the first OPM musical and dance theater masterpiece

Quite coincidentally, in the late ‘70s and early ‘80s, a musical genre was born—the OPM or Original Pilipino Music. Herein lies the uniqueness in the adaptation of the legend—it has the distinction of being the first OPM musical and dance theater masterpiece.

Alice Reyes took the challenge of weaving the dancers and singers within the music score, instead of separating them, creating a wholistic staging. Reyes uses diverse elements, derived from Asian theater, such as the shadow play, various hand props, and Indian movements transposed to choreography in the modern dance genre.

The music of Ryan Cayabyab is an intermingling of Southeast Asian musical influences, rather than South Asian (Indian), with a dash of Western influence (heard in the monkey chant). The mixed influences of his music “Filipinized the score,” as he refers to his work as an “eclectic piece,” a style that has eventually become his musical signature.

Complementing the music is the libretto of Bienvenido Lumbera, whose script has varying levels: an elevated diction for the protagonist, and Filipino slang for the demons. The reason behind this is that “the intrusion of a very contemporary diction could jar the audience into perceiving that the ancient epic of India is also ‘now’ and ‘Filipino.”’ An English translation projected during the performance is the work of Rolando Tinio.

Salvador Bernal’s set designs further outline his stylized ornamented Oriental costumes.

Rama, Hari was last re-staged in 2012 and won 14 Philstage Gawad Buhay Awards. It was intended to be re-staged in 2020, but the pandemic hit.

The artists of Alice Reyes Dance Philippines (ARDP) and the CCP’s Professional Artist Support Program (PASP) will be joined by dance trainees from Guang Ming College, Philippine High School for the Arts, De La Salle College of Saint Benilde, and other independent performers.

Live music is performed by The Orchestra of the Filipino Youth.

Speaking of youth, Manahan tells TheDiarist.ph about how the Rama, Hari performance and the Alice Reyes Dance Philippines try to engage the millennials and the GenZ: “In the age of manga and virtual anything, this becomes a challenge… and yet this is where parenthood plays an important role, informing/teaching the young ‘uns of traditions, history et al.

“Case in point is when I invited my grandkids to watch Encantada. I gave them a brief background and also told them that they were going to be hearing ethnic rock music with ‘strange instruments.’ My grandson, who plays the electric guitar, was completely taken by what he heard and insisted on meeting the composer, Joey Ayala, which he did, and had a long conversation with him.”

Rosanna Manahan Yupangco with Monica Gana after a performance

Manahan’s grandson Jaime meets Joey Ayala, puts his hand on his forehead as a gesture of respect for the elders, following the Filipino custom.

The rest of TheDiarist.ph’s interview with National Artist Alice Reyes:

What are the other challenges of restaging Rama today?

….If there are challenges we are meeting, it is primarily funding, or lack of funding for such a major theatrical work.  We have to live with the fact that both the CCP and the NCCA/Met are hampered by highly reduced budgets. Our hope is that more corporations, like Century Pacific Foods Inc., will sponsor artistic productions with the same verve as they do sports events.  Then artistic companies like ours can have sustainability.

How did you tweak the staging to make it “relatable” to today’s audience?

From a director’s and choreographer’s point of view, I always look at where I can strengthen the storytelling. Where I can make adjustments in my choreography, so I can bring the best of what my lead dancers have to give. Where I can find details that bring us closer to the highest levels of excellence.

Ryan, as composer, remains true to his original composition and orchestration…. And since his music is glorious, there is no need to tweak.

Bien’s libretto is so classic we are blessed to have his poetic verses and sharp ‘80s vernacular twang.

The last time Bien and I talked about Rama, we laughed discussing how to translate to today’s lingo, and tweak “Brod, brod, tshinapter ako ng isnaberong macho,” a line he gave to the evil Ravana’s sister, Soorphanaka, in her wickedly comic role.

Bien and I did not  manage to come up with one. But it remains a good topic of discussion among passionate Rama enthusiasts.

As for Badong’s (Salvador Bernal) production design, Eric Cruz, Barbie Tantiangco and I decided to bring back his original designs for the very first production in 1980. These have  a series of hanging portals, and not just the stark white ramps, levels and stairs that we later used for the more recent re-stagings.

How did you want to introduce it to millennials and GenZ who are seeing it for the first time?

Basically, my thrust was to present Rama to this generation of audiences with as much authenticity of our creative collaboration as possible. And from the responses of those like Nes Jardin and other theater arts personalities,  as well as corporate movers who have come to watch our open rehearsals, this is the way to go.

Ryan Cayabyab came to watch a run recently and agreed that it works, and that it continues to be relevant as it did 40something years ago. The Ramayana epic, on which I based our rock opera ballet, is a classic. And so universal.

Ino Manalo, NCCA chair and artistic director of Metropolitan Theater, has organized a lecture in cooperation with the Indian Ambassador and Prof. Marilyn Canta for students and members of both Indian and Indonesian embassies.

Can you tell us about the strengths of the leads? 

We had Basil Valdez  when we opened in 1980, with Leo Valdez, and the introduction of Kuh Ledesma—three names that our guest singers today say with great respect.

Incredible artists carried on with the later re-stagings, like Christian Bautista, Ric Segretto, OJ Mariano, and Karylle…

What Nelson Yadao, our artistic director, and I love is that today’s singers are all able to sing and dance, with experience gained from the abundance of musical theater productions today.

Arman Ferrer, Audie Gemora—amazing!

Poppert  Bernadas and Mathew San Jose and John Mojica—all formidable as  Ravana.

Nica Tupas and Vien King, whom we are both introducing in this production.

Jon Abella is not to be missed, along with Paw Castillo.

The singers Katrine Sunga, Maron Mabena, Miah Canton and Reflesia Bravo will not be outdone in the female roles, either.

And as Sita—Karylle and Shiela Valderrama-Martinez  and Nica.

In the run-through the other day, Ryan remarked that there should be a permanent theater for Rama, Hari, so that tourists could come and watch and experience Filipino performing artists at work!

A lovely dream.

How has the Alice Reyes Dance Philippines grown?

Steadily, against all odds, running on sheer will power, boosted by the support of CCP and the NCCA/Met officials, along with the steadfast patrons of the arts who are determined to keep this set of professional dancers and performing artists alive and dancing, teaching and choreographing.

 I would like to think that these Filipino dance gems and masterpieces will be staged again and again for all generations of audiences

This is the company that is trusted by the icons of our Filipino choreographic world with their dances. I would like to think that these Filipino dance gems and masterpieces will be staged again and again for all generations of audiences, locally and internationally.

This is also the company with members ready to go out and teach, stage old works and create new ones—out in the regions with the local regional talents, working with the LGUs who are the patrons of the arts who budget and plan to build cultural centers in our regions all over the country.

We do Carmen and Other Spirits in October, then tour Puso ng Pasko, our Christmas production of Filipino Christmas traditions all over Luzon in December.

With gratitude, from our hearts down to our toes, to all who continue to make it possible for us to grow!

The showing of this grand epic is a timely presentation, as the first show of ARDP after its celebration of its first anniversary last July 23. Starting with a press conference hosted by a heritage restaurant, Milky Way, which opened in 1950 serving memorable dishes that have become the favorites of at least three generations of Filipinos. Keeping with the theme of Rama, Hari, an Indian legend, Kashmir Restaurant, established in 1975, is another sponsor. Kashmir is now owned by Leon Araneta, son of Gemma Cruz Araneta, the country’s first Miss International in 1964.  Ms. Araneta and Ms. Reyes were classmates at Maryknoll College where both were honored as Outstanding Alumnae.

Rama, Hari show schedule:
Sept. 15, 2023 | Friday | 7:30 p.m. | Metropolitan Theater
Sept. 16, 2023 | Saturday | 2 p.m. | Metropolitan Theater
Sept. 16, 2023 | Saturday | 7:30 p.m. | Metropolitan Theater
Sept. 22, 2023 | Friday | 7:30 p.m. | Samsung Performing Arts Theater
Sept. 23, 2023 | Saturday | 2 p.m. | Samsung Performing Arts Theater
September 23, 2023 | Saturday | 7:30 p.m. | Samsung Performing Arts Theater

Subscribe to ARDP’s 2023 Dance Season and celebrate the best of Filipino artistry and talent! For season subscriptions and ticket reservations, email ardancephilippinesinc@gmail.com. For more information, check @ARDancePh on Facebook, Instagram, and TikTok.