Revisiting Tales of the Manuvu

MANILA, Philippines - Before Josh Groban and Paul Potts, there were Boy Camara and Ray-An Fuentes. Before Justin Timberlake and Akon, there were Anthony Castelo and Ric Segreto. Before Rico Blanco and Ogie Alcasid, there were Hajji Alejandro and Dio Marco.

Before Lady Gaga, Shakira, and Beyoncé Knowles, there were Celeste Legaspi, Leah Navarro, and Isay Alvarez.

In 1977, eons before the beginning of the Internet, the creation of iPhones, and the invention of USB, there were the incomparable Alice Reyes and the-best-of-the-best Bienvenido Lumbera who collaborated on the genre-shattering pop-rock opera ballet called Tales of the Manuvu, which radically altered the topography of ballet, pop-rock opera, and other musical productions in the Philippines — if not in Southeast Asia, for being avant-garde in mixing libretto with musical score for ballet.

The distinguished Dero Pedero composed the music for the Lumbera libretto performed by Camara, Fuentes, Castelo, Segreto, Alejandro, Marco, Legaspi, Navarro, and Alvarez — all of whom were truly talented superstars of the Original Pilipino Music movement of the pre-texting era. One of the songs from the libretto, Noong Unang Panahon, lorded over the airwaves, eventually hit the Platinum record level, and launched Navarro’s vibrant singing career.

Thirty-two years later, from this Friday evening to Sunday afternoon, Filipino theater enthusiasts from generations when the word “mall” in the Philippine context — was only affixed to Ali Mall in Araneta Center — down to those who share their status updates via on-line services such as Twitter and Facebook, should not miss the rare chance to watch the 2009 edition of this unsurpassed Ballet Philippines (BP) classic.

Current BP artistic director Paul Morales — the statuesque dancer, choreographer, and theater and film director — is at the helm of this rousing revival to celebrate the company’s 40^th anniversary season.

In an interview, Morales said his version will use videos and live cameras as “a way of extending the audience’s virtual experience.”

“The production uses theatrical techniques to highlight contemporary discussion on the questions of self, spirit, and identity,” said Morales, who was born around the time BP was taking shape. He emphasized the production will show his strong background in theater and will include Brechtian scenes.

“Following our ambitious retrospective of some of BP’s most seminal pieces in Masterworks, we felt it would be fitting to re-stage one of the company’s most successful productions in Tales of the Manuvu. By presenting our landmark works in both their original forms and in new productions, we try to convey our keen sense of the pursuit of the contemporary grounded in our history and traditions,” Morales wrote in his Message from the Artistic Director.

“Informed by the recent calamities, we heed the musical’s final message: Kung tayo man ngayo’y may piring na luha/ bukas pagkamulat hanapin ang tuwa/Kalagin ang gapos ng ating tadhana/kung kikilos tayo, tayo ay lalaya,” he said during a short break from rehearsals.

“This new production pays homage to the original artists and collaborators and celebrates the company’s contribution to Philippine theater and music in a living example of Alice Reyes’ original vision,” Morales said.

Singers Robert Seña, Eladio Pamaran, Guji Lorenzana, Banaue Miclat, Jaime Barcelon, and Al Gatmaitan essay the roles played by the OPM superstars in the 1977 edition, with the Makiling rock band accompanying them. Berlin-based singer Pamaran, who has turned down roles in upcoming local musical productions due to commitments in Germany, is making a rare appearance in the show.

Back-to-back with Tales of the Manuvu is Our Waltzes with live piano accompanying the BP dancers on stage as they perform this work infused with Latin influences, graceful and lilting movements, and the theme of romantic waltzing of love explored.

Our Waltzes, choreographed by the renowned Venezuelan dancer Vicente Nebrada, is a neo-classical dance that has been performed by more than 30 companies worldwide. It is also known as the “one-ton ballet” due to the numerous lifts required from the male dancers by this production, which can be compared to ballroom dancing with a different twist.

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