Cover ‘Nothing Special’ featured in Mari Dance’s rerun of ‘a dance in a day in a dance’ (Photo: Steven Bermudez)
‘Nothing Special’ featured in Mari Dance’s rerun of ‘a dance in a day in a dance’ (Photo: Steven Bermudez)
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Sweat, burnout and visceral storytelling—Mari Dance returns to reshape Filipino dance theatre
Mari Dance’s acclaimed contemporary dance production, a dance in a day in a dance, has returned for a compelling multi-weekend run from May 16 to May 31 at the Doreen Black Box Theater, Areté. Choreographed by JM Cabling and directed by musical theatre director Mikko Angeles, the production seamlessly weaves five distinct dance works into scenes that peek into the gruelling yet beautiful lives of dancers and choreographers. By pulling back the curtain on the performing arts, the piece explores burnout, rejection, creative pressure and survival within the craft.
What makes this restaging profoundly significant is its function as a living archive in motion where dance works developed through different independent platforms are recontextualised and woven into a full-length theatrical performance. Four of the five featured works were originally birthed through the Cultural Center of the Philippines (CCP) dance programme and its Choreographers Series, demonstrating how institutional platforms can successfully nurture contemporary dance practice from early experimentation to full theatrical runs.
Above Poster of Mari Dance’s rerun of ‘a dance in a day in a dance’
Poster of Mari Dance’s rerun of ‘a dance in a day in a dance’
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The true brilliance of a dance in a day in a dance lies in how seamlessly stitched together the independent pieces from Cabling’s career into a singular narrative. Providing a peek into the vulnerable realities of the craft, these works reemerge not as isolated vignettes, but as a continuous, deeply felt conversation on survival, burnout and intimacy.
Born out of isolation, this piece was first presented in 2021 under the CCP Professional Dance Support Program to sustain independent artists during the global pandemic. It is a gruelling, high-octane work that demands absolute physical sacrifice and continuous stamina from its ensemble. Dealing directly with the theme of creative suppression and the desperate need for expression, it serves as the ultimate test of endurance for the company.
Compared to the previous rendition of this piece by the Alice Reyes Dance Philippines, there were some differences in energy and endurance due to the technical (physical) requirements of the piece. However, Mari Dance’s ensemble was able to pull it off.
Above A scene from ‘Lihim ni Lea’ (Photo: Cesar Morales)
A scene from ‘Lihim ni Lea’ (Photo: Cesar Morales)
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First showcased during NeoFilipina 2019, Lihim ni Lea provides the production with its most unsettling and structurally complex narrative. This iteration sees former Ballet Philippines and Alice Reyes Dance Philippines dancer Janine Arisola-Cabrera stepping into the lead role of Lea, bringing a mature, assured technique to a piece that explores deep undercurrents of friction and domestic secrecy. Cabling masterfully juxtaposes a playful exterior against a deeply haunting core, catching the audience entirely off-guard. Charged with dramatic flair hidden in its whimsical and absurdist facade. Timely and timeless, this is the most impactful piece in the lineup.
Read more: Dancing Again: National Artist Alice Reyes Talks About Her New Company
Above A scene from ‘Bent’ (Photo: Cesar Morales)
A scene from ‘Bent’ (Photo: Cesar Morales)
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Originally premiering at the 2014 Wifi Body Festival’s New Choreographers’ Competition under the direction of Myra Beltran, Bent represents Cabling’s earliest piece in this retrospective lineup. The work, which took first place in the competition, expertly balances theatrical levity with an undercurrent of genuine human vulnerability, ensuring the performance never collapses under its own weight. Seamless in its narrative with hilarious punches, it progresses to flesh out its sentimental depth.
Developed under the mentorship of Denisa Reyes and Beltran for the CCP Choreographers’ Series, Nothing Special earned international acclaim as a finalist at the 2019 Yokohama Dance Collection and received the Alvin Erasga Tolentino Koryograpiya Award. The piece is a masterstroke of choreographic economy, stripping away superfluous set pieces and dense exposition to focus purely on the raw, kinetic language of the human body. Truly, it is a masterclass in allowing the audience to understand its story with limited context and then proceed in attaching oneself to the character, into the story, until it becomes our story. It was the most impressive for me as it hits close to home.
Read more: ‘A Chorus Line’ (2026) stamps Theatre Group Asia’s position in the local theatre scene
Above A scene from ‘Nothing Special’ (Photo: Cesar Morales)
A scene from ‘Nothing Special’ (Photo: Cesar Morales)
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The strength of the choreography is matched by the exceptional calibre of its performers. Al Garcia brings deep artistic authority to the stage, reprising his role as the Choreographer. Former Ballet Philippines dancers Georgette Sanchez-Vargas and Ea Torrado alternate in the role of the mother. Torrado infuses the character with a grounding, organic quality drawn from personal history, whilst Sanchez-Vargas delivers a fluid, finely articulated movement quality shaped by an extensive international career. Arisola-Cabrera brings an assured presence and mature technique to the lead role of Lea, whilst Michael Que and Sarah Samaniego reliably anchor the returning cast.
Beyond the established headliners, the production’s true triumph is its diverse, broader ensemble. Featuring Mari Dance scholarship students hailing from Butuan, Iriga, Sagay, Sorsogon and Surigao, the company actively bridges the gap between regional talent and mainstream professional visibility. This beautifully reflects the company’s education-driven mission, integrating pedagogy and community-building through training initiatives and scholarship programmes under Guang Ming College.
Above A scene from ‘I Wanna Say Something’ (Photo: Steven Bermudez)
A scene from ‘I Wanna Say Something’ (Photo: Steven Bermudez)
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Ultimately, a dance in a day in a dance is more than a celebration of the CCP’s institutional legacy—it is a bold manifesto for the future of the performing arts. By integrating rigorous training, regional accessibility and deeply resonant storytelling, Mari Dance is here to reshape dance theatre in the Philippines.
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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.
