Alden Lugnasin’s ‘Swimming The Ilog Pasig’
The premiere of Alice Reyes’ Carmen in 1984 at the Cultural Center of the Philippines (CCP) had me in the lead role, with Nonoy Froilan as Don Jose. This was the only title role my sister, Alice Reyes, gave me throughout my dance career. I did lead roles in many of her ballets, but Carmen was a challenge because she was choreographing it on me.
Poster of ‘Carmen’ for October 2023 performances
A poster for the touring performance, circa 1987
Nonoy and I had just gotten married then, and I had just given birth to our first-born, Michaela. I had to lose 50 lbs and was determined to get back in shape.
Because she had very little time to mount the ballet—we never had enough time then, because we had five new productions every season—the leads rehearsed mornings in the rehearsal hall, and in any available space like hallways when no venue was available.
After morning rehearsals, we took company class and rehearsed until 5 pm. A two-hour break followed but when my alternate, Mercedes Manago (whom we all called Bo-peep), came in from school, I had to teach her the steps during my break. From 8 to 10 pm, we would rehearse again, so I was on call practically the whole day.
I’m sure I couldn’t get anything right in one rehearsal, such that Alice said in frustration, “Why can’t you be as good as Bo-peep!?!” Mind you, Bo-peep was a beautiful dancer. The only difference was that I was a bride, mother, associate director, and she was, I think, in high school then.
During my time, choreographers didn’t mince words. Baby boomers can be brutally frank, and you just take the slaps bravely. Comments like that were vitamins that shored up nutrients in mind, body, and soul. They boosted our determination, improved our immune system, and bolstered our defense mechanism. They also converted doubt into energy, if you were strong enough to fight.
There’s also a dynamic relationship between sisters who are 12 years apart—eldest and youngest. But that’s a different story altogether.
During my time, choreographers didn’t mince words…Comments like that were vitamins that shored up nutrients in mind, body, and soul
I researched on Bizet’s Carmen, and was fascinated by the story. It reminded me of Nonoy’s and mine. This spirited, voluptuous woman gets a shy officer—well, our story has a better ending. Nonoy and I are still together, and he didn’t kill me.
In Alice’s version, Carmen and Don Jose leave the stage only to change costumes, so that left us exhausted, to say the least. I did manage to get very thin and also very worn out.
Before opening night, I heard that Alice wanted to give Nonoy the final curtain call. Our mother was adamant. She fought for her youngest, the title role Carmen, who had every reason to take the last bow. I was inconsolable. Maybe I just wasn’t good enough.
During the technical dress rehearsal, I practically marked the whole ballet. I was that washed-out, incompetent dancer, and not Carmen at all. My mama called me that night. “Edna, where’s the FIRE???” She was almost in tears. The next day was our opening night, and Carmen would totally flop without fire and smoke.
I did become her, though. I couldn’t go onstage as Carmen without bursting into flames. I just wanted to scare Alice.
Years later, I watched her Carmen on video, and again, gasped. Wow! ALICE REALLY CHOREOGRAPHS WELL!!!
Her version is brilliant. It is from the point of view of Don Jose, and Carmen is a principal part of his story. I told Nonoy, “You really should have taken that final bow. As choreographer, I would’ve insisted.”
All versions of Carmen are about Carmen. This is the only one, arguably in the whole world, uniquely about Don Jose. He narrates his story to writer Prosper Merime, as he awaits his death in jail.
Alice’s choreography captures Don Jose’s soul in a most poignant and moving way. She is very musical and uses the music beautifully. In the end you are riveted. You go home thinking, poor, poor man.
The only ones who have performed Alice’s version after me and Bo-peep were Sofia Zobel, who performed it on our USSR tour in the late ’80s, and Elizabeth Roxas, former principal dancer of New York’s Alvin Ailey Dance Company, who danced it in the ’90s.
All through the years I’ve been hoping that Alice herself would restage Carmen, but I kept telling her that the lead must be Macel Dofitas. It’s her that I see as Carmen in talent, presence, and physique.
This is the only ‘Carmen,’ arguably in the whole world, uniquely about Don Jose. Alice’s choreography captures Don Jose’s soul in a most poignant and moving way
I first saw Macel doing Puss ‘N Boots in Nutcracker when she was a dancer aching to be born. I remember thinking, that’s the sexiest, most eye-catching Puss ‘N Boots I’ve seen in my whole life. If a dancer can make you sit at the edge of your seat in that number, she’s special. And, Richardson Yadao must be her Don Jose, because he can certainly work the muscle of deep pathos. They are a fantastic pair on stage.
The author ‘on fire’ as the original Carmen
The sets of Salvador Bernal are another sight to see—stark, almost naked, yet full. They never call attention to themselves, but you notice them. The lights of Katsch Catoy in the original version also added immensely to the story.
This time around, it breaks my heart that the Alice Reyes Dance Philippines (ARDP) has only two performances of Carmen. What a waste of an excellent production.
It is heart-wrenching that the ARDP has to scrounge and wheedle for funding. A company like this, with an early track record of excellent hits like Encantada, Puso ng Pasko, and Rama, Hari, should be loaded with sponsors. Their first anniversary was just celebrated recently.
I hope government bureaus and private corporations bolster this company. It is, after all, headed and founded by a National Artist, one of the best choreographers this country has ever produced.
We should be thankful that, now in her 80s, Alice is back alive and kicking in her trajectory. The ballet company that she founded and nurtured didn’t last for 50+ years just because she is everyone’s darling. It’s because she has very good taste and makes unpopular decisions. Her new company, ARDP, is one that deserves full support from the nation. It doesn’t make us cringe; it makes us proud.
Some leaders who are supposed to take care of artists do things on a scale that people have nightmares about. Unfortunately, they promote projects for their personal or political gain, and we know who they are. Supporting and keeping track of legitimate artistic accomplishments are fundamental to the evolution of Filipino art.
Geniuses come rarely, and when they are ignored, it is soul-crushing. This is a sliver of life when you look at history unfolding across the universe. You see gold in some planets and mire in others.
I write my inside stories to let people acknowledge artists as humans. Beyond the stage, where everything is almost perfect, we ache, weep, and fight countless battles. And we succeed because of dedication and hard work. We also remain poor because no one takes care of us.
Tomorrow, Alice Reyes’ Carmen will be just another page in the art books, with photos, references, and quotes.
When you get a rare opportunity to revisit the past, you enter a gateway to the future. Watch Carmen—with only two performances—and learn from it. You must experience it live as it drifts briefly across the center of the Universe.
Shows are at Oct 20, 7:30 pm, and Oct 21, 4pm at the Samsung Theater, Makati Circuit.
Lester Reguindin’s ‘Now’
