Tovic Salvador

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<p>The best thing about live performances is that they will always be a fresh and unique personal experience for both the artists and the audience members.It&#x27;s not uncommon for theater and dance enthusiasts like me to watch all casts of a show or catch reruns simply because there&#x27;s always something to bring home from every performance. As you gain familiarity with the material, you see the unveiling of new layers and appreciate the nuances, as well as perhaps even hidden Mickeys, of each show. </p><p>I&#x27;ve seen the entire lineup of Alice Reyes Dance Philippines&#x27; “Juan Tamad and Other Ballets” in recent times, but I was still excited to find out if they would succeed in still exciting me, or if the familiarity would result in a duller appreciation of their beautiful pieces. </p><p>Here are my thoughts on the gala held last September 12 at the Arete of Ateneo de Manila University.</p><div><br/></div><div><strong>The Filipino romantic</strong></div><div><span class="fr-img-caption fr-fic fr-dib" style="width:950px"><span class="fr-img-wrap"><img src="https://od2-image-api.abs-cbn.com/prod/editorImage/1757807985250JUAN TAMAD ENSEMBLE.jpg" style="width:950px" class="fr-fic fr-dib"/><span class="fr-inner">&#x27;Juan Tamad&#x27; ensemble. <em>Erica Marquez-Jacinto</em></span></span></span>Having seen “Juan Tamad” last month, the piece is still quite vivid in my memory. But seeing it a second time brought forth another layer of the story to appreciate. </div><p>“Juan Tamad,” choreographed by Erl Sorilla, retells the story of a lazy boy who found no reason to dream or be productive. With no reason to excel, Ricmar Bayoneta, who plays Juan, verbalizes, “Okay lang naman maging Tamad.” He yearned for love but knew that nobody would fall in love with a lazy person, so he had already settled on being alone, enjoying life with his sidekick, the Matching (the monkey). </p><p>But when he laid eyes on Maria Masipag (played by Karla Santos), who was a kind and dutiful daughter to her parents, he was smitten. He was determined to show Maria and her parents that he could be a deserving partner for her. He needed to find the Golden Niyog for his lady. </p><p>The catchy song composed by Toto Sorioso filled the theater with positive feelings. The entire cast, led by Bayoneta, sold the Filipino romantic narrative, singing “Hahamakin ang lahat… Hanggat tumitibok ang pusong &#x27;di sumusuko, makamit lang ang iyong pag-ibig.” </p><p>The emotion-driven choreography and the excellent dancing really captured the audience&#x27;s undivided attention. The choreography was made special by the committed cast. </p><p>For this particular show, the standout performer was Dan Dayo, who really put in the work as Matching. A hero is not complete without his loyal sidekick building him up, and he did that with precision and a whole lot of technique.</p><div><br/></div><div><strong>Courtship is more fun in the Philippines </strong></div><div><span class="fr-img-caption fr-fic fr-dib" style="width:950px"><span class="fr-img-wrap"><img src="https://od2-image-api.abs-cbn.com/prod/editorImage/1757808758154DAN DAYO AS MATCHING WITH RICMAR  BAYONETA AS JUAN TAMAD.jpg" style="width:950px" class="fr-fic fr-dib"/><span class="fr-inner">Dan Dayo as Matching with Ricmar Bayoneta as Juan Tamad. <em>Erica Marquez-Jacinto</em></span></span></span>Watching it this time around, I noticed more of the implanted Filipino cultural nuances in the ballet. Probably one of the best inventions in Filipino culture is the “panliligaw” (courtship), where the boy steps in and does the tasks of the lady and her family. </div><p>In his pursuit of Maria Masipag, played by Karla Santos, Bayonete swept floors with the walis tambo (Filipino mop), polished floors with a bunot (coconut husk), and did laundry with a palanggana (Filipino large basin). The props became extensions of the dance: an arabesque( standing on one leg with the other extended)  balanced on a coconut husk, partnered extensions (high kicks) framed by the sweeping of a broom, laundry lines transforming into connective threads between lovers — clever inclusions that made the narrative uniquely Filipino. </p><p>After Juan Tamad&#x27;s successful pursuit of the golden niyog, he satisfyingly declared, “Maria Masipag, ako&#x27;y iyong nabihag at ngayon ang puso ko&#x27;y nabihag. Simula ngayon, ako na ay si Juan Masipag.” Achievement unlocked, a fun, purposeful narrative ending with a clear positive message for the youth: Love conquers all. </p><p>This ballet&#x27;s cuteness level was high, but more than that, it turned the folklore ballet into an embodied archive of cultural nuance. It reiterated to me that dance indeed preserves identity as much as it can tell stories with lessons.</p><div><br/></div><div><strong>Shades of you in the &#x27;Moon&#x27;</strong></div><div><strong></strong></div><div><span class="fr-img-caption fr-fic fr-dib" style="width:950px"><span class="fr-img-wrap"><img src="https://od2-image-api.abs-cbn.com/prod/editorImage/1757808707431ERL SORILLA IN MOON.jpg" style="width:950px" class="fr-fic fr-dib"/><span class="fr-inner">Erl Sorilla in &#x27;Moon.&#x27; <em>Erica Marquez-Jacinto</em></span></span></span>The evening’s other works offered equally layered experiences. “Moon,” choreographed by Kun-Yuang Lin and performed by Erl Sorilla, shifted the tone from local to elemental. The choreography centers on chi, offering almost a meditative experience through held poses, finger articulation, and an absence of excessive technical frills. </div><p>As the curtains opened, a solitary figure stood in the spotlight amidst the darkness. When he began to move, it appeared as though the light emanated from him, not because of the lighting but because of his pull. </p><p>Sorilla captivated the audience with his piercing gaze and fluid energy, his presence palpable as he executed the steps grounded in his calm. I have seen this piece performed by others, but I appreciated how his rendition was far from a replica. Instead, it felt as if he were praying for answers, seeking guidance from the sounds of nature. It was a new shade of personal expression to an otherwise stoic piece.</p><div><br/></div><div><strong>Holding hands in love and in dance</strong></div><div><span class="fr-img-caption fr-fic fr-dib" style="width:950px"><span class="fr-img-wrap"><img src="https://od2-image-api.abs-cbn.com/prod/editorImage/1757808478051KRYSLYNNE BURI AND RENZEN ARBOLEDA IN NOCTURNE .jpg" style="width:950px" class="fr-fic fr-dib"/><span class="fr-inner">Kryslynn Buri and Renzen Arboleda in &#x27;Nocturne.&#x27; <em>Erica Marquez-Jacinto</em></span></span></span>The third piece of the evening, “Nocturne” by Carlo Pacis, is actually an excerpt from Shakespeare&#x27;s “A Midsummer Night&#x27;s Dream.” It&#x27;s the final pas de deux showing the reconciliation of Titania and Oberon. It is a scene of two heavenly beings who melt indifference with love, two bodies once again accepting each other and moving forward, showing everyone that they can reign together. </div><p>Even without program notes, the pair Kryslynn Buri (Titania, Queen of the Fairies) and Renzen Arboleda (Oberon, King of the Fairies communicated the regal dignity of royalty, the playfulness of fairies, and the vulnerability of lovers who finally accept each other. This seems simplistic in theme, but knowing the backstory really puts this romantic pas de deux because it explains how the choreography is almost about taming each other while standing their ground, with each movement melting away the guarded wall that separates them. </p><p>The piece starts off with the two leads walking into the audience on opposite sides of the theatre. They walk until they reach the audience, where their movement begins in unison. They inch closer and closer together until they step into a duet that finally makes them dance as one unit. Rarely letting go, they do an endless series of interconnected lifts with each looking more beautiful than the next. </p><p>I did wish, however, that they had a few moments of lingering half smiles or unyielding eye contact because it really is a story about love and reconciliation. It&#x27;s a heartwarming emotional shift of emotion and love.</p><div><br/></div><div><strong>The power of &#x27;Ces La Cie&#x27;</strong></div><div><span class="fr-img-caption fr-fic fr-dib" style="width:950px"><span class="fr-img-wrap"><img src="https://od2-image-api.abs-cbn.com/prod/editorImage/1757808645872EJAY ARISOLA in CE LA CIE.jpg" style="width:950px" class="fr-fic fr-dib"/><span class="fr-inner">Ejay Arisola in &#x27;Ces La Cie.&#x27; <em>Erica Marquez-Jacinto</em></span></span></span>The last performance was Bam Damian’s “Ces La Cie,” which is ARDP&#x27;s current powerhouse statement piece. The theme is simply a celebration of the company&#x27;s talent. </div><p>I&#x27;ve seen this piece evolve this year. What kept it fresh for me was Ejay Arisola performing the solo and pivotal movements usually performed by Renzen Arboleda, who, I assume, was unable to do it because Nocturne preceded this piece. Ejay Arisola flew with precision and a whole lot of height. He was easily the most exciting part of this piece. </p><p>It just goes to show that familiar pieces can still be fresh when peppered with the lightest seasoning of change. I must say, though, after seeing it for a fourth time this year, I strongly feel this piece needs to go on a quick hiatus.</p><div><br/></div><div><strong>Revisiting, rediscovering</strong></div><p>ARDP’s debut at Arete was a success, despite encountering many jarring technical difficulties. I hope that in their future performances there, they can improve their collaboration with the theater. </p><p>For this author, ARDP is not just performing beautiful ballets; they are showcasing works that can be revisited fondly, as each piece reveals layers of substance. </p><p>&quot;Juan Tamad&quot; has layers of culture, &quot;Moon&quot; has layers of emotion, &quot;Nocturne&quot; has layers of love, and of course, &quot;Ces La Cie&quot; has layers of power and technique. This mixed-bill program reminded me why dance is always worth watching, revisiting, and rediscovering.</p><div><br/></div><div><em>‘Juan Tamad and Other Ballets’ will have one more performance on Sunday, Sept. 14, 3 p.m., at Hyundai Hall, Arete Ateneo de Manila.</em></div>

<p>Alice Reyes Dance Philippines’ ‘Juan Tamad and Other Ballets’ at Ateneo’s Arete is a reminder that dance doesn’t just tell stories — it preserves culture, emotion, and identity, rewarding audiences who return to watch with new discoveries each time.</p>

Alice Reyes Dance Philippines’ ‘Juan Tamad and Other Ballets’ at Ateneo’s Arete is a reminder that dance doesn’t just tell stories — it preserves culture, emotion, and identity, rewarding audiences who return to watch with new discoveries each time.

Dance review: Unveiling layers in ‘Juan Tamad and Other Ballets’

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Dance review: Unveiling layers in ‘Juan Tamad and Other Ballets’

ABS-CBN Lifestyle,

Erica Marquez-Jacinto

Published Sep 14, 2025 10:00 AM PHT

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Juan Tamad and Other Ballets

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