By Sam L. Marcelo, Associate Editor
BOY CAMARA, a 69-year-old retired rock star and college heartthrob, was hanging out in New Jersey when he received a random message from Alice Reyes. Would Mr. Camara like to join the restaging of Tales of the Manuvu, inquired Ms. Reyes, the founder of Ballet Philippines (BP) who returned to the company in 2017 as its artistic director.
The offer was a time machine that brought Mr. Camara back to his 1970s heyday: when he sang with his band, The Afterbirth, in discos and clubs along Roxas Boulevard for P20 a night; and he played the title role in a bootleg production of Jesus Christ Superstar that opened a month before the Broadway premiere. Fun times. Caught up in wistful remembrance, he said “yes” immediately (besides, who says “no” to a National Artist?). With Mr. Camara on board, Ms. Reyes moved on to more urbane matters: Would Mr. Camara like to join her for lunch in Brooklyn? The answer was, of course, another “yes.” She prepared chicken. He assisted.
A few days after that surreal series of events — which took place thanks to the magical Rolodex that is the Internet — Mr. Camara realized what he had gotten himself into. This was no gig in a dimly lit club; this was Tales of the Manuvu, the closing performance of Ballet Philippines’ 49th season at the Main Theater of the Cultural Center of the Philippines. “Tales of the Manuvu brings you back to a time when everything was good and everything was aplenty,” he said. “After the excitement died down, I started asking myself: Can I still do it? I got nervous,” he said.

‘THE HOTTEST THING’
In the canon of Ballet Philippines, the original staging of Tales of the Manuvu (1977), is legendary. The company’s dancers are still regaled with stories of lines snaking around the block; audience members sitting in the Main Theater’s aisles and blocking the exits, prompting a post-performance visit from the fire department; and rapturous applause.
A rock-opera ballet that tells the creation story of the Manobo tribe from Mindanao, Tales of the Manuvu is based on an article written by historian and anthropologist E. Arsenio Manuel. It represented a change of pace for Ms. Reyes, whose early work consisted of dramatic women-centered historical pieces such as Amada. “I wanted something a little bit more fun, a little bit more happy and childlike. When I read his stories, I thought they were perfect for me to try and use as a dance story.” She assembled a stellar team: Bienvenido Lumbera, who was awarded the title of National Artist for Literature in 2006, wrote the libretto; Dero Pedero, the jingle-meister behind the catchiest commercials of his time, composed the score in collaboration with Mr. Camara and The Afterbirth. “He was the hottest thing,” said Ms. Reyes of Mr. Camara, who was 27 when he assumed the role of “the First Man” in Tales of the Manuvu. Fashion designer and Coco Banana club owner Ernest Santiago designed the costumes; Monino Duque volunteered to do the lights and sets.
“It was really fun. We had no idea that it would do as well as it did. Who would have thought? Literally, you couldn’t see the aisles,” said Ms. Reyes. “What made this striking was that it was all-Filipino and the Filipino-ness, I think, hit a nerve.”
The production spawned a hit, “Noong Unang Panahon” (later recorded by Kuh Ledesma), and boosted the profile of its stars: Mr. Camara, Celeste Legaspi, and Leah Navarro. Ms. Legaspi, like Mr. Camara, is joining this production 42 years after being part of its premiere.
Of her desire to recapture the magic of 1977 by featuring members of the original cast, Ms. Reyes said: “I’m very nostalgic and sentimental. I hope I reach that generation and that I’m speaking to those who are still around… Talent is talent is talent. Hindi kumukupas (it does not fade).”
BUCKET LIST
At the same time, the Ballet Philippines founder wishes to speak to the young, to the “new generations that have sprung forth since then,” as Ms. Reyes put it. The 2019 restaging of Tales of the Manuvu will feature live performances by jazz/rock band Radioactive Sago Project and new musical arrangements courtesy of Francis de Veyra, who was tapped to tweak Mr. Pedero’s score. Synthesizers will be added to a mix of indigenous instruments like the kulintang, agung, and tongatong; horns (specifically, a trumpet, a saxophone, and a trombone — plus a flute thrown in to represent the woodwind section); guitars; drums; and keyboards. The result, Mr. De Veyra says, is a fusion of world-Latin-conga music spiked with groovy 1970s feel. Far out.
The new production team also includes Broadway theatrical set designer Loy Arcenas and veteran lighting designer Katsch Catoy.
In total, there will be seven performances featuring a rotating cast of singers. Pop stars from a previous generation — Mr. Camara, Ms. Legaspi, and Ding Mercado — will be joined by theater couple Shiela Valderrama and Lorenz Martinez, Nar Cabico, Reuben Laurente, Poppert Bernadas, Lara Maigue, and Aicelle Santos, who is fresh off her Miss Saigon tour in Ireland.

Joining Tales of the Manuvu ticks an item off Ms. Valderrama’s bucket list. “I’ve been wanting to do something like this,” she said, admitting that she auditioned for BP’s Rama Hari — another Alice Reyes piece — but didn’t get the part. This time, the role of First Woman was offered to her, no auditions necessary.
The response of Ms. Valderrama and her cohorts was heartening for Ms. Reyes. “One of the nicest things about being with Ballet Philippines is you invite people and nobody says ‘how much,’” she said. “I’m very thankful to the young singers for saying ‘yes, we will do it, let’s do this.’ They didn’t blink. I think it’s because they trust Ballet Philippines… and they know that it’s going to be fun. And it will be fun.”
Tales of the Manuvu runs from March 22–31 at the CCP Main Theater. Aside from the hour-long main event, the program consists of Sun Down, The Weight on our Toes, and Mama, which are works by new choreographers; and Chichester Psalms, a restaging of another Alice Reyes piece that was first performed in 1973. Tickets are available through Ticketworld (891-9999), the CCP Box Office (832-3704), the Ballet Philippines Box Office (551-1003), or online at www.ticketworld.com.ph.

RELATED ARTICLESMORE FROM AUTHOR