Cover Filipina ballet dancer Pia Dames as Prinsesa Sing Sing in ‘Ang Prinsipe ng Mga Ibon’, the first of the three stories in ‘Ang Tatlong Kuwento ni Lola Basyang’
Filipina ballet dancer Pia Dames as Prinsesa Sing Sing in ‘Ang Prinsipe ng Mga Ibon’, the first of the three stories in ‘Ang Tatlong Kuwento ni Lola Basyang’
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Just because you are an adult doesn’t mean you can’t appreciate children’s stories anymore. Ballet Manila’s reimagining of esteemed Filipino writer Severino Reyes’s ‘Tatlong Kuwento ni Lola Basyang’ reminds us that these tales are timeless
This year marks Ballet Manila’s seventh time restaging Tatlong Kwento ng Lola Basyang, yet it remains as refreshing as the first. What makes this different from its predecessors is renowned singer-actress and comedienne Mitch Valdez in the titular role of Lola Basyang, a new Von de Guzman song, and a new script by acclaimed playwright Luna Griño-Inocian. All these elements contribute to this production’s overall charm.
No one is too old for fairy tales. Its timeless appeal is evident in the audience gathered at the Aliw Theatre: the middle-aged foreigner at the back, recounting his adventures to a stranger before the show started; the grandmother being pushed in her wheelchair by what appears to be her granddaughter; or the man in a suit, entering the theatre looking like he just finished a business meeting. No one is ever too old for Lola Basyang, and no one is ever too old for a little bit of ballet.
Adding to the nostalgic atmosphere are the mothers who arrived with their daughters, which brought to mind artistic director Lisa Macuja-Elizalde’s sentiments during the show’s press event. “I am looking forward to the kids who watched Tatlong Kuwento ni Lola Basyang 16 years ago now bringing their own children,” she said. Her wish was granted, as these mothers, whether fans of Macuja-Elizalde or the company—or perhaps both—were now sharing this experience with their kin.
When Valdez’s Lola Basyang finally showed herself along with the kids, it became clear that this was more than just another technical ballet performance. It was an undertaking—a challenge to impress and captivate diverse groups of people and ages.
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Above Mitch Valdez as Lola Basyang in Ballet Manila’s ‘Tatlong Kuwento ni Lola Basyang’
Mitch Valdez as Lola Basyang in Ballet Manila’s ‘Tatlong Kuwento ni Lola Basyang’
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Once again, the show depicts three specific Severino Reyes stories that mix elements of romance, fantasy, and adventure: Ang Prinsipe ng Mga Ibon, Ang Kapatid ng Tatlong Marya, and Ang Mahiwagang Biyulin. “It will be a little bit of a musical theatre with the three ballet stories,” said Macuja-Elizalde. “I’m looking forward to it. It’s actually my first time directing actors and child actors.”
Valdez, true to her character, served as a dynamic narrator. She and the four children usually broke the fourth wall in Tatlong Kuwento ni Lola Basyang, interacting with the dancers in between storylines. “When we had our first meeting, I said, Please, I don’t want to sit still in a rocking chair,” said the actress. Macuja-Elizalde found it wise to listen to her suggestion, her character adding a lively and interactive dimension to the performance.
Above The Prinsipe (Romeo Peralta) and Prinsesa Sing Sing (Pia Dames) in ‘Ang Prinsipe ng Mga Ibon’
The Prinsipe (Romeo Peralta) and Prinsesa Sing Sing (Pia Dames) in ‘Ang Prinsipe ng Mga Ibon’
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In Ang Prinsipe ng Mga Ibon, the Prinsipe (Romeo Peralta) and Prinsesa Sing Sing (Pia Dames) depict a blossoming relationship between a bird and a human. Love stories that bridge the romantic gap between humans and creatures are a familiar theme in fiction, with works like Guillermo del Toro’s Shape of Water and Gabrielle-Suzanne de Villeneuve’s Beauty and the Beast receiving positive reception.
The audience appreciated the classic choreography by the late Osias Barroso Jr and the captivating melodies of Nicanor Abelardo, alongside National Artists for Music Antonino Buenaventura, Levi Celerio, and Lucrecia Kasilag, all beautifully arranged by Mon Faustino. These, paired with the colourful costumes of the cast, left the audience in awe.
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Above One of the sisters married to the leader of the lion kingdom in ‘Ang Kapatid ng Tatlong Marya’
One of the sisters married to the leader of the lion kingdom in ‘Ang Kapatid ng Tatlong Marya’
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Meanwhile, Ang Kapatid ng Tatlong Marya tells the story of a boy (Elmo Dictado) searching for his three sisters (Ris Camaclang, Stephanie Santiago, and Pearl Dames), who were captured as punishment for their father’s greed. Macuja-Elizalde’s choreography was the highlight of the stage, skillfully managing the dynamics among the three sisters, their father, mother, brother, and the supporting dancers.
Set to music by Joey Ayala, the three women’s performance vividly depicted the identities of their respective kingdoms—the shark, eagle, and lion kingdoms. Dictado’s fluidity and adaptability provided the perfect balance for these elements.
Above Geri Francisco Jr as Rodrigo in ‘Ang Mahiwagang Biyulin’
Geri Francisco Jr as Rodrigo in ‘Ang Mahiwagang Biyulin’
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Lastly, Ang Mahiwagang Biyulin focuses on a poor but hardworking boy who is exploited by his employer. He then turns the tables with the help of an enchanted violin, given to him by a stranger after a good deed.
Choreographed by the late Tony Fabella and featuring music by National Artist for Music Ryan Cayabyab, this part completes the trilogy with its own magical and uplifting narrative. The face-off between Rodrigo (Geri Francisco, Jr) and Ahab (John Balagot)—with the latter performing modern dance moves like twerks and nae-naes—seemed like a fun end to the whole programme.
More than just a ballet performance, Tatlong Kuwento ni Lola Basyang celebrates cultural heritage and the enduring power of Filipino storytelling. Some even say Ballet Manila found its own The Nutcracker—in the sense that it has become a tradition for Filipino families of different generations to watch Tatlong Kuwento ni Lola Basyang every year like the classic. Most would be inclined to agree after watching the production. It feels like an heirloom, a heartfelt letter from one generation to the next, further underscored by the presence of Severino Reyes’s family and heirs in the audience.
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Credits
Photography: Teddy Pelaez and Ballet Manila
Angela Nicole Regis Guiral is the assistant digital editor of Tatler Philippines. She studied journalism and has since written features that look closely at how culture, lifestyle and social impact converge, while occasionally wandering into the worlds of style and travel.
