Cover Renzen Arboleda as First Man in Alice Reyes’s ‘Tales of the Manuvu’ (Photo: I.R. Arenas)
Renzen Arboleda as First Man in Alice Reyes’s ‘Tales of the Manuvu’ (Photo: I.R. Arenas)
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Alice Reyes Dance Philippines (ARDP), in collaboration with the University of the Philippines, the National Commission for Culture and the Arts and the Cultural Center of the Philippines, is proudly bringing back the iconic Filipino rock-opera ballet, ‘Tales of the Manuvu’
The Philippine arts scene is set to experience a magnificent revival this week at the UP Diliman Arts and Culture Festival 2026 and in March 2026 at Rockwell Makati. Generously supported by the Office of Senator Pia Cayetano, this highly anticipated restaging promises to captivate a new generation of theatregoers.
Premiered in 1977, Tales of the Manuvu made history as the very first Filipino rock-opera ballet. It masterfully weaves the indigenous creation mythology of the Manobo tribe with the pulsating, vibrant energy of rock and pop music.
Read more: A celebration of culture and care: the UP Diliman Arts and Culture Festival 2026
Above Poster of Alice Reyes Dance Philippines’ ‘Tales of the Manuvu’
Poster of Alice Reyes Dance Philippines’ ‘Tales of the Manuvu’
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The production was born from the creative synergy of true artistic legends. National Artist Alice Reyes provided the visionary direction and choreography, while National Artist Bienvenido Lumbera penned the libretto. Crucial to its iconic, era-defining sound was the music composed by OPM icon Dero Pedero, featuring additional music by the rock band Afterbirth. The original 1977 production starred heavyweights of the Philippine theatre and music scene, including Boy Camara, Anthony Castelo, Hajji Alejandro, Celeste Legaspi, and marked the debut of Leah Navarro.
Before Tales of the Manuvu, the fusion of classical ballet, modern dance, and live rock band performances was unheard of in the country. Critics and audiences alike praised the sheer “Filipino-ness” of the production—it traded the heavy, tragic drama of earlier ballets for a lighter, more exuberant, and almost childlike storytelling approach. The iconic song Noong Unang Panahon became a massive pop hit, celebrated for its wistful, haunting reflection on the human heart and creation itself. Its enduring message of human resilience, community, and self-reliance against the backdrop of feuding gods is exactly why it remains a timeless classic. During its original run, the show was so wildly popular that audiences famously packed the theatre aisles.
Read more: National Artist for Dance Agnes Locsin’s ‘Encantada’ makes a triumphant revival
Above A scene from the 2019 staging of National Artist Alice Reyes’s ‘Tales of the Manuvu’ (Photo: Erica Jacinto)
A scene from the 2019 staging of National Artist Alice Reyes’s ‘Tales of the Manuvu’ (Photo: Erica Jacinto)
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As National Artist Alice Reyes beautifully reflects on the 1977 premiere: “We agreed that the tales could be rich material for a rock-opera ballet, a dance concept still in its nascent state in the Philippines. We opened on February 25, 1977, to a packed house in the CCP and never looked back.”
Forty-nine years later—and almost to the day—Tales of the Manuvu makes a strong comeback. Prior to this highly anticipated 2026 run, the ballet was performed in March 2019 at the Cultural Center of the Philippines, serving as the grand finale for Ballet Philippines’ 49th season. With Reyes’s current company, audiences had a sneak peek of the material at the recent CCP Pasinaya 2026. This year’s iteration is helmed by ARDP Ballet Master Lester Reguindin. This iteration features new set and costume designs by award-winning director and designer Loy Arcenas, and lighting design by Barbara Tan-Tiongco.
Read more: CCP Pasinaya celebrates 20 years of artistic immersion and expansion
Above Ejay Arisola as Ogassi in National Artist Alice Reyes’s ‘Tales of the Manuvu’ (Photo: Erica Jacinto)
Ejay Arisola as Ogassi in National Artist Alice Reyes’s ‘Tales of the Manuvu’ (Photo: Erica Jacinto)
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The production continues the tradition of featuring a powerhouse ensemble of live vocalists and dancers. With a rotating cast, audiences are invited to catch different artistic interpretations at every performance. Gawad Buhay awardee Joshua Cadeliña will be the singing voice of Manama and the First Man, alternated by versatile theatre artist Adonis Villanueva. Ogassi will be brought to life by international a capella sensastion Almond Bolante, as well as distinguished baritone Greg De Leon. Lastly, the First Woman will be voiced by Christy Lagapa, alternating with Toni Carm Santos.
ARDP’s esteemed dancers are taking on the principal characters. Manama will be performed by John Ababon, alternating with Renzen Arboleda. Ogassi will be performed by Earl John Arisola, who will share the role with seasoned choreographer and dance artist Erl Sorilla. First Man will be brought to life by Renzen Arboleda and James Galarpe, while First Woman will be performed by Krislynne Buri and Francine Beltran.
Above Ejay Arisola as Ogassi, John Ababon as Manama, and Renzen Arboleda as First Man in Alice Reyes’s ‘Tales of the Manuvu’ (Photo: I.R. Arenas)
Ejay Arisola as Ogassi, John Ababon as Manama, and Renzen Arboleda as First Man in Alice Reyes’s ‘Tales of the Manuvu’ (Photo: I.R. Arenas)
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All proceeds from ticket sales will cover production expenses and provide essential financial support to ARDP dancers, musicians and artists. Made possible by a creative grant from UP President Angelo Jimenez, Tales of the Manuvu will have its first leg at the University Theater, UP Diliman, on a free admission, first-come, first-served basis from February 27 to 28. Then it will have a strictly limited run at the Proscenium Theater, Rockwell Makati, opening with a special fundraising gala on March 28, followed by a two-show day on March 29.
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About
Before assuming the Art and Culture Editor position, Franz has always had a penchant for visual and performing arts. He is passionate about exploring and writing about the local cultural scene and rediscovering the country’s storied past and rich heritage. Besides working on this luxury lifestyle magazine, Franz is an avid book reader, local traveller, museum-goer, chorister, and community theatre playwright.
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Franz earned a degree in Journalism from the University of Santo Tomas. He writes about local visual and performing artists and their craft; drinks wines, liquors, and spirits and talks about the creativity of their respective winemakers and master blenders; tries to learn more about business and investments; respects the tradition and artistry that go behind the making of watches and jewellery; and appreciates the genius of architecture and creative design.
As head of Tatler Philippines’ pool of writers, he helps them bring impactful and socially relevant stories to light.
For any leads, you may reach him through @franzsorillaiv on Instagram or franz@tatlerphilippines.com via email.
